CONSTRUCTION  WO 


RURAL 


AND 


■ii/ELEMENTMY 


CHOOLS 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


cw.^'t^  rT^t>H4I,  9r¥0()h 


UNIVERSITY  of^CALIFORNDT 

LOS  ANGELES 
UBRARY 


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4 


Construction  Work 


FOR 


Rural  and  Elementary 
Schools 


BY 

VIRGINIA  McGAW 

Teacher  in  the  Elementary  Schools 
of  Baltimore 


A.  FLANAGAN  COMPANY 

CHICAGO 


Copyright  1909 

BV 

A.   FLANAGAN  COMPANY 


%/ 


PREFACE 

In  offering  this  volume  to  the  public  the  author  has  but  one 
wish — namely,  that  it  may  supply  a  want  in  time  of  need  and 
help  some  one  over  a  difficult  place. 

Most  of  the  subject-matter  in  Parts  One,  Two,  Three,  and 
Four  was  written  for  and  has  been  previously  published  in  the 
Atlantic  Educational  Journal,  with  a  view  to  assisting  the  rural 
teacher.  The  present  volume  comprises  a  revision  of  the  articles 
published,  together  with  a  short  account  of  one  season's  work  in  a 
school  garden,  and  has  the  same  object — that  of  aiding  the  rural 
teacher  by  means  of  a  few  simple  suggestions. 

The  work  is  divided  into  five  parts — "Cord  Construction," 
"Paper  Construction,"  "Wood  Construction,"  "Basketry,"  and 
"The  School  Garden."  No  subject  is  dealt  with  at  length.  The 
aim  has  been  to  give  simple  models  that  may  be  made  without 
elaborate  preparation  or  special  material. 

Believing  that  a  child  is  most  likely  to  appreciate  his  tools  when 
he  realizes  their  value  or  knows  their  history,  a  brief  introduction 
to  each  part  is  given,  and  wherever  possible,  the  place  of  the 
occupation  in  race  history  is  dealt  with,  and  an  account  of  the 
culture  and  habitat  of  the  material  is  given. 

As  clear  a  statement  as  is  possible  is  made  of  how  the  model  is 
constructed,  and  in  most  cases  both  a  working  drawing  and  a 
picture  are  given. 

VIRGINIA  McGAW. 
Baltimore,  Maryland, 


ACKNOWLEDGMENTS 

To  the  Atlantic  Educational  Journal  for  the  privilege  of  re- 
vising and  reHnquishing  the  articles  on  Cord,  Paper,  Wood,  and 
Basketry. 

To  Mr.  George  M.  Gaither,  Supervisor  of  Manual  Training 
in  the  Public  Schools  of  Baltimore,  for  five  of  the  woodwork 
patterns. 

To  President  Richard  W.  Silvester,  of  the  Maryland  Agricul- 
tural College,  for  the  inspiration  to  write  the  Garden  Bulletin, 
his  consent  to  its  republication,  and  his  hearty  cooperation  in  its 
revision. 


CONTENTS 

CORD  CONSTRUCTION 

Introductory  Remarks    9 

Knots    9 

1  Overhand   Knot    10 

2  Square  Knot   10 

3  "Granny"  Knot 11 

Chains   11 

4  Loop  Chain   •. 11 

5  Overhand   Knot    Chain 13 

6  Solomon's   Knot   Chain 13 

Combined  Knots  and  Chains 15 

7  Knotted  Bag  15 

8  Miniature  Hammock — Knotted    16 

9  Miniature  Portiere — Knotted   : 17 

Weaving    17 

10     Miniature  Hammock — Woven   17 

PzVPER  CONSTRUCTION 

Introductory  Remarks    25 

A  Model  Lesson  27 

1  Windmill  or   Pin-wheel   31 

2  Square  Tray  No.  1 31 

3  Square  Tray  No.  II 31 

4  Square  Box  with  Cover 32 

5  Square  or  Rectangular  Box 33 

6  Pencil  Box  with  Sliding  Cover 35 


CONTENTS 


7  Seed  Box  with  Sections 37 

8  Picture  Frame  No.  I,  Diagonal  F'olds 37 

9  Picture  Frame  No.  II 37 

10  Portfolio    40 

1 1  Barn — House — Furniture    41 

12  Hexagonal  Tray  42 

13  Lamp  Shade   44 

14  Star    45 

15  Notebook   46 

16  Bound  Book    47 

17  Japanese  Book 49 

18  Scrap-Book    50 

WOOD  CONSTRUCTION 

Introductory  Remarks 55 

1  Puzzle    56 

2  Plant  Label  58 

3  Pencil   Sharpener    58 

4  Match  Scratch 59 

5  Kite-String  Winder  60 

6  Thermometer   Back    61 

7  Pocket  Pin-Cushion   61 

8  Picture  Frame    63 

9  Japanese  Box    65 

10     Grandfather's  Chair 66 

BASKETRY 

Introductory  Remarks 71 

Reed  Construction   75 

1  Napkin  Ring  No.  1 75 

2  Napkin  Ring  No.  II 76 

3  Mat  76 

4  Hamper  Basket '^' 


CONTENTS 


5  Basket  Tray 79 

6  Basket  with  Handle 81 

Raffia  Construction 83 

7  Plaited  Rope  84 

8  Plaited  Mat  85 

9  Purse    86 

10  Plaited  Basket   86 

11  Hat  of  Plaited  Rope 88 

12  Napkin  Ring 89 

13  Indian  Basket   89 

14  Grass  Basket  or  Tray 91 

15  Basket  of  Splints  and  Raffia 93 

Combined  Reed  and  Raffia 95 

16  Umbrella    97 

17  Aliniature  Chair  Xo.  1 97 

18  ]\Iiniature  Chair  Xo.  II 99 

Rules  for  Caning  Chairs 102 

THE  SCHOOL  GARDEN 

Introductory  Remarks 107 

A  City  School  Garden 108 


PART  I 
CORD  CONSTRUCTION 


CORD  CONSTRUCTION 

Introductory  Remarks 

To  A  child  one  of  the  most  attractive  of  possessions  is  a  piece 
of  cord.  He  has  so  many  uses  for  it  that  it  becomes  part  of  the 
prized  contents  of  his  pocket.  Since  this  commodity  affords  so 
much  pleasure  to  the  untrained  child,  how  greatly  may  the  pleas- 
ure be  enhanced  if  he  is  taught  how  to  make  the  number  of  beauti- 
ful things  that  may  be  wrought  from  cord  or  twine !  Having  this 
knowledge,  he  will  unconsciously  employ  many  otherwise  weary 
moments  in  fashioning  some  coveted  article. 

Among  the  things  he  can  make  are  chains,  reins,  bags,  nets, 
miniature  hammocks,  portieres,  and  rugs  for  the  dollhouse.  He 
must  be  guided  step  by  step  from  the  simplest  to  the  more  in- 
tricate. He  must  be  taught  that  only  when  a  thing  is  well  done 
has  it  any  use  or  value,  therefore  the  best  effort  is  necessary  to  the 
success  of  his  work.  If  he  ties  a  knot,  it  must  be  properly  tied 
or  it  will  not  hold.  If  he  makes  a  bag  or  a  hammock,  the  meshes 
must  be  uniform  and  the  color  blendings  pleasing  oi  it  will  lack 
beauty,  and  even  he,  himself,  will  not  care  for  it.  Should  he  make 
a  chain  or  reins,  they  ought  to  be  attractive-looking  as  well  as 
useful ;  hence  the  aim  should  be  for  artistic  combination  and  per- 
fect execution.  The  success  the  child  will  meet  with  will  depend 
greatly  upon  the  attitude  of  the  teacher  toward  the  work  and  the 
amount  of  spirit  she  may  be  able  to  infuse  into  it. 

KNOTS 

Aim — To  teach  the  names  of  different  knots,  how  they  are  tied, 
and  the  utilitarian  value  of  each. 
Begin  by  teaching  how  to  tie  a  knot,  and  that  all  knots  are  not 
alike  nor  tied  in  the  same  way.  There  are  three  kinds  of  knots — 
the  overhand  knot,  the  square  knot  and  the  "Granny"  knot. 
Each  of  these  has  its  use,  its  place,  and  a  utilitarian  value. 


10  CONSTRUCTION  WORK 


1     Overhand  Knot 

Material — One  10-inch  piece  of  heavy  twine. 

Hold  one  end  of  the  twine  firmly  in  the  left  hand  and  throw  the 
other  end  over  with  the  right  hand  to  form  a  loop ;  then  pass  the 


OVERHAND  KNOT 

end  in  the  right  hand  under  the  loop ;  and  draw  it  through  tightly, 
making  a  firin  knot. 

A  long  piece  of  twine  in  which  are  tied  either  single  knots  at 
regular  intervals,  or  groups  of  three  or  five  knots  with  spaces  he- 
tween,  will  make  a  chain  which  will  delight  any  small  child. 

2     Square  Knot 
Aim — To  teach  how  to  tie  a  knot  that  will  not  slip. 
Material — One  12-inch  piece  of  heavy  twine. 

Take  an  end  of  the  twine  between  the  thumb  and  the  forefinger 
of  each  hand.  Holding  in  the  left  hand  end  No.  1,  pass  it  to  the 
right  over  end  No.  2 ;  then  pass  it  under  No.  2 ;  finally,  pass  it  out 
and  over,  making  the  first  tie.  Now,  holding  end  No.  1  firmly  in 
the  right  hand  and  end  No.  2  in  the  left,  pass  No.  1  to  the  left 
over  No.  2,  then  under,  out  and  over;  draw  the  two  ties  together, 
and  you  will  have  a  firm,  square  knot. 


CORD  CONSTRUCTION 


11 


SQUARE  KNOT 

3     "Granny"  Knot 

Aim — To  teach  the  name  of  the  knot  one  usually  ties  and  how  to 

tie  it. 
Material — One  12-inch  piece  of  heavy  twine. 

Take  an  end  of  the  twine  between  the  thumb  and  the  fore- 
finger of  each  hand  and  hold  firmly.  Pass  end  No.  1  to  the 
right  over  end  No.  2,  under  and  out.  Next  pass  end  No.  2  to 
the  right  over  end  No.  1,  under  and  out. 

We  now  have  the  knot  known  as  the  "Granny,"  which  we  or- 
dinarily tie. 

CHAINS 

4     Loop  Chain 
Material — One  piece,  5  yards  long,  of  macrame  cord,  No.  12,  one 
color.      (See  page  12.) 


12 


CONSTRUCTION  WORK 


About  five  inches  from  one  end  of  the  cord  make  a  short  loop. 
Using  this  loop  as  a  starting-point,  work  up  the  length  of  the  cord 
to  within  about  eighteen  inches  of  the  other  end,  by  repeatedly 
drawing  a  new  loop  through  the  one  previously  made  as  one  does 
in  crocheting.     The  child  can  easily  manipulate  the  cord  with  his 


LOOP  CHAIN 
Showing  how  stitch  is  made  and  appearance  of  finished  chain. 

tiny  fingers.  Aim  to  have  the  loops  of  uniform  size.  Finish  with 
a  loop  five  inches  long,  leaving  an  end  of  the  same  length.  Now, 
placing  together  the  two  ends  of  the  chain,  we  have  a  loop  and 
two  single  ends  of  cord.  Take  these  single  cords  together  and 
buttonhole  them  over  the  loop  for  about  three  inches,  then  twist. 
Tie  the  single  ends  with  a  square  knot,  and  fringe  them  out ;  leave 
the  loop. 

Instead  of  being  fringed,  the  ends  may  have  a  large  bead  at- 
tached to  each,  and  a  whistle  may  be  strung  on  the  loop.     This 


CORD  CONSTRUCTION  13 

would  both  make  the  chain  attractive  to  the  child  and  demonstrate 
a  use  for  it. 

5     Overhand  Knot  Chain 

Material — Macrame  cord,  Xo.  12:  one  piece  2  yards  long,  white; 
one  piece  2  yards  long,  red. 
Fasten  the  two  pieces  together  in  the  middle.     Pin  them  to  a 
board  or  slip  them  over  a  hook  where  the  cord  will  be  held  firmly. 


OVERHAND  KXOT  CHAIN 

Using  the  overhand  knot,  tie  each  color  alternately,  until  all  ex- 
cept about  four  inches  of  cord  is  used  up.  Taking  four  ends  as 
one,  tie  a  slip-knot  close  up  to  the  point  where  you  stopped  form- 
ing the  chain.  Next,  fringe  out  the  four  ends  close  up  to  the 
knot.  The  result  is  a  circular  cord  with  stripes  running  diag- 
onally around  it,  very  pleasing  to  the  eye  of  a  child. 

The  lengths  here  given  make  a  fob-chain  about  five  inches  long. 

6     Solomon's  Knot  Chain 

Material — Four  pieces  of  macrame  cord,  No.  12,  2}^  yards  long, 
of  one  color.     (See  page  14.) 

Double  in  the  middle  and  leave  two  loops,  each  two  inches 
long.  Take  two  strands  as  the  center  and  foundation  and  attach 
diem  to  a  hook  or  a  board  where  they  will  be  held  firmly.  Loop 
the  two  remaining  threads  alternately  over  the  two  central  ones, 
first  the  one  on  the  right,  then  the  one  on  the  left.  For  instance : 
Take  a  single  cord  on  the  left,  form  a  loop  to  the  left  of  the  double 
cords,  draw  the  end  over  the  two  foundation  pieces  and  hold 
firmly.  Then  take  a  single  cord  on  the  right,  pass  it  over  the 
piece  of  cord  which  forms  the  loop,  then  under  where  the  three 
pieces  cross  and  up  through  the  loop ;  draw  it  tight.  Then  work 
with  a  single  cord  on  the  right  in  the  same  way  and  continue, 
alternating  the  two  single  cords,  until  there  is  left  about  four 
inches.  Clip  the  middle  cords  so  that  the  four  ends  may  be  of 
equal  length.     Finish  by  tying  them  in  a  square  knot  and  fringing 


14 


CONSTRUCTION  WORK 


SOLOMON'S  KNOT  CHAIN 

Showing  how  stitch  is  made. 


the  ends.  This  forms  a  flat  chain  one-quarter  of  an  inch  wide 
and  one-eighth  of  an  inch  thick,  which  may  be  made  any  length 
desired. 


CORD  CONSTRUCTION 


15 


ZZzS^ 


KNOTTED  BAG 


COMBINED  KNOTS  AND  CHAINS 
7     Knotted  Bag 

Material — Macrame   cord,    No.    12,   one   or  two   colors;   twelve 

pieces  1  yard  long  or  six  pieces  1  yard  long,  of  each  of  the 
two  colors. 

Double  each  piece  of  cord  in  the  middle  and  tie  it  in  a  loop 


16  CONSTRUCTION  WORK 

over  a  pencil  or  some  other  object  that  will  make  the  loops  of 
equal  size.  Slip  the  loops  from  the  pencil  and  string  them  to  a 
cord,  alternating  the  colors.  Join  the  ends  of  the  cord  so  as  to 
form  a  hoop.  You  now  have  twelve  loops  on  this  hoop  and 
one  row  of  knots.  Form  a  second  row  of  knots  by  tying  cords 
of  dilTerent  colors  together.  The  meshes  should  be  uniform  and 
of  the  size  of  the  loops.  Continue  knotting  one  row  below  the 
other  until  about  three  inches  of  cord  remain.  Now  stretch  the 
bag  out  straight  and  double  and  tie  together  the  four  cords,  which 


MINLITURE  HAMMOCK— KNOTTED 

operation  will   form  the  bottom  and  close  the  bag.     Fringe  the 
ends  and  trim  them  off  evenly. 

Make  a  loop  chain,  and  run  it  through  the  top  loops,  having 
removed  the  working  cord.  Small  brass  rings  may  be  used  at 
the  top  instead  of  loops,  and  the  drawing  string  may  be  run 
through  them.  A  larger  bag  may  be  made  by  the  addition  of 
more  and  longer  pieces  of  twine. 

8     Miniature  Hammock — Knotted 

Material — Twelve  pieces  of  seine  cord.  No.  12,  each  2  yards  long. 
Two  iron  rings,  1  inch  in  diameter. 
String  the  pieces  of  cord  through  a  ring,  taking  care  that  the 
ends  are  of  the  same  length.  About  three  inches  from  the  ring, 
knot  each  piece  of  cord.  This  will  make  twelve  knots  and  form 
the  first  row.  For  the  second  row,  knot  alternate  pieces  of 
cord.  Continue  until  there  are  twelve  rows  of  knots.  Be  careful 
to  make  the  meshes  the  same  size.  Leave  about  three  inches  un- 
knotted and  attach  these  ends  to  the  second  ring.  Make  a  twisted 
cord  (of  four  thicknesses  of  macrame)  of  some  contrasting  color 
and  run  through  the  meshes  of  each  side,  taking  it  twice  through 
each  mesh  and  attaching  it  to  rings  at  the  ends  of  the  hammock. 


CORD  CONSTRUCTION  17 

The  meshes  should  be  about  an  inch  square.  Make  the  cords  a 
little  shorter  than  the  sides  of  the  hammock,  in  order  to  give  it 
the  proper  spring.  Take  an  extra  piece  of  cord  the  color  of  the 
hammock  and  wrap  it  around  the  cords  close  up  to  the  rings, 
winding  it  evenly  and  firmly  for  about  an  inch  from  the  ring; 
fasten  it  securely. 

9     Miniature  Portiere — Knotted 

Material — Twelve  36-inch  lengths  of  macrame  cord,  Xo.  12. 

Double  each  piece  in  the  middle  and,  using  the  overhand  knot, 
tie  it  over  a  stout  lead  pencil  or  a  very  narrow  ruler.  See  that 
each  knot  is  pressed  close  to  the  foundation  holder,  that  the  loops 
may  be  of  equal  size.  These  loops  and  knots  form  the  first  row. 
Do  not  remove  them  from  the  holder.  Separate  the  cords  and 
knot  together  each  two  adjacent  ones,  alternating  at  every  other 
row.  Continue  knotting  until  about  three  inches  of  cord  remain 
to  form  the  fringe  at  the  bottom.  Before  tying  the  last  row  of 
knots,  slip  a  colored  glass  bead  over  each  set  of  cords,  then  make 
the  knot  so  as  to  hold  the  bead  in  place.  These  beads  are  an  orna- 
ment, apart  from  giving  weight  to  the  portiere  to  make  it  hang 
well.  Trim  the  fringe  evenly,  slip  the  portiere  from  the  founda- 
tion holder,  and  it  is  readv  to  h^ng. 

Use  beads  the  color  of  the  cora,  or  of  some  effective  contrast- 
ing shade.  If  a  child  is  expert  enough,  a  bead  may  be  placed  at 
every  knot,  adding  decidedly  to  the  attractiveness  of  the  little 
portiere.     (See  page  18.) 

WEAVING 
10     Miniature  Hammock — Woven 

Material — Tag-board  loom  8x10  inches.     Cord   of  one,  two  or 
three  colors.    Two  brass  rings,  }4  inch  in  diameter. 

To  make  a  loom,  take  a  piece  of  tag-board  8x10  inches  in  size. 
]\Ieasure  ofif  one  inch  from  the  back  edge  and  draw  a  line  parallel 
to  the  back  edge.  Measure  ofif  one  inch  from  the  front  edge  and 
draw  a  line  parallel  to  the  front  edge.  IMeasure  off  ore  inch  from 
the  right  edge  and  draw  a  line  parallel  to  the  right  edge.  Measure 
off  one  inch  from  the  left  edge  and  draw  a  line  parallel  to  the  left 
edge.     You  have  now  a  6x8-inch  rectangle  marked  off,  leaving 


18 


CONSTRUCTION  WORK 


rrrv 


MINIATURE  PORTIERE—  (For  description  see  page  17.) 


CORD  CONSTRUCTION 


19 


a  one-inch  space  around  the  edj^e  of  the  tag-board.  Start  at  a 
point  where  a  vertical  and  a  horizontal  line  intersect  and  mark 
off  the  six-inch  ends  into  spaces  one-fourth  inch  apart.  Next 
with  a  large  needle  pierce  the  board  at  each  point  of  intersection. 
This  will  make  twenty-five  eyelets  at  each  end.  On  the  reverse 
side  of  the  board  draw  diagonals  to  determine  the  center.    Tie  to- 


f^    m 


ihMl\\\\\\S\\\Ss\\S<^ 


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BLANKET  FOR  DULLS  BED 
Showing  how  it  is  started. 

gether  the  two  brass  rings  and  fasten  them  firmly  to  the  center 
of  the  reverse  side. 

To  string  the  loom  requires  about  fifteen  yards  of  cord.  Divide 
the  cord  into  two  lengths.  Thread  a  length  into  a  needle  and  tie 
one  end  of  it  to  one  of  the  brass  rings.  Next  carry  the  cord  from 
the  ring  through  the  thirteenth  perforation,  then  across  the  face 
of  the  loom  to  the  thirteenth  perforation  at  the  opposite  end. 
through  again  to  the  reverse  side  and  pass  through  the  opposite 


20 


CONSTRUCTION  WORK 


ring  from  which  it  started.  Repeat  this  operation  by  carrying  the 
cord  in  a  reverse  direction  each  time  until  one-half  the  loom  is 
strung.  Then  with  the  other  length  of  cord  start,  by  attaching  it 
to  the  same  ring  to  which  the  first  piece  was  tied,  and  work  in 
the  opposite  direction  until  the  second  half  is  strung.     Should  it 


A  RUG 
Made  of  narrow  strips  of  cotton  cloth. 

be  necessary  to  add  to  the  cord,  arrange  that  the  knot  be  on  an 
end  near  a  ring.    A  knot  in  the  warp  hampers  the  weaving. 

Have  the  warp  threads  and  the  predominant  woof  thread  of 
the  same  color. 

To  begin  weaving,  cut  a  quantity  of  ten-inch  lengths.  Take 
one  of  these  lengths,  start  in  the  center  of  the  loom,  and  weave 
in  and  out  among  the  warp  threads,  allowing  it  to  extend  two 
inches  beyond  on  each  side.     Have  a  perfectly  smooth,  narrow, 


CORD  CONSTRUCTION  21 

thin  ruler  and  weave  it  in  across  the  warp  threads.  As  each  hori- 
zontal or  woof  thread  is  added,  shove  it  close  to  the  preceding 
one  with  the  ruler,  which  acts  as  a  pusher.  Weave  first  on  one 
side  of  the  center  and  then  on  the  other,  until  the  entire  6x8-inch 
space  is  covered.  If  a  border  is  to  be  put  in,  gauge  equal  spaces 
from  the  center  and  work  in  the  border  of  a  different  shade  or 
color.  The  borders  must  be  placed  equally  distant  from  the 
center  and  the  same  distance  from  each  end.  Take  the  overhang- 
ing cords  and  knot  each  alternate  two  together  along  the  line  of 
the  outer  warp  thread.  This  will  hold  the  woof  threads  in  place, 
as  well  as  finish  the  edges  of  the  hammock.  Comb  these  ends 
out  and  trim  them,  to  get  the  fringe  even.  At  each  end  where 
the  weaving  stops,  take  a  needle  threaded  with  a  length  of  cord 
and  run  in  and  out  along  the  warp  threads,  first  to  the  right 
and  then  to  the  left  of  the  final  woof  thread.  This  makes  a  se- 
cure finish  and  holds  the  woof  threads  in  position.  Next  un- 
fasten the  rings  and  remove  the  hammock  from  the  loom  by  tear- 
ing the  tag-board  along  the  lines  of  perforations.  Finally, 
where  the  cords  pass  through  the  ring,  hold  them  close  to  the 
ring  and  wrap  them  with  a  piece  of  cord  for  the  distance  of  an 
inch,  then  fasten  off  by  forcing  the  needle  up  through  the  wrapped 
space  toward  the  ring;  draw  the  end  through  and  clip  close  to 
the  ring.     The  hammock  is  now  finished. 

The  question  may  arise:  Why  begin  weaving  in  the  center  of 
the  loom?  The  answer  is:  Because  small  children,  and  even 
older  ones,  sometimes,  are  not  able  to  keep  their  warp  threads 
parallel  and  as  they  approach  the  middle,  where  these  threads  give 
more,  they  naturally  draw  them  in.  This  tendency  is  remedied  to 
a  great  extent  by  beginning  in  the  middle  and  weaving  toward 
the  ends,  where  the  warp  is  confined  in  the  board  and  keeps  its 
place  with  no  effort  on  the  part  of  the  child. 


PART  II 
PAPER  CONSTRUCTION 


PAPER  CONSTRUCTION 

Introductory  Remarks 

Whatever  may  have  been  the  true  origin  of  the  art  of  paper- 
making,  it  is  now  lost  in  obscurity.  It  is  ahiiost  certain  that  the 
earhest  form  of  paper  was  the  papyrus  of  the  Egyptians  and  that 
they  were  the  first  to  use  it  as  a  writing  material  They  manu- 
factured it  from  the  stem  of  the  papyrus  plant,  from  which  the 
name  paper  comes. 

It  is  also  known  that  the  Chinese  were  versed  in  this  art  before 
the  Christian  Era,  and  that  they  made  paper  from  the  bark  of 
various  trees,  the  soft  part  of  bamboo  stems,  and  cotton.  In  India 
and  China  the  practice  of  writing  on  dried  palm  and  other  leaves 
still  obtains.  It  is  probable  that  the  employment  of  these  fibrous 
substances,  together  with  observation  of  the  methods  of  paper- 
making  wasps  and  other  insects,  led  to  manufacturing  by  pulping 
the  materials  and  spreading  them  out. 

As  the  Chinese  seem  to  have  been  the  pioneers  in  so  many  great 
inventions,  so  also  they  appear  to  have  been  the  inventors  of  this 
art.  From  the  Chinese  the  Arabians  learned,  in  the  seventh  cen- 
tury, the  craft  of  making  paper  from  cotton,  and  they  established 
a  manufactory  at  Samarcand  in  706  A.  D.  Here  the  Moors 
learned  the  art,  and  through  them  it  was  introduced  into  Spain. 
It  is  thought  that  the  Aloors  used  flax  and  hemp  in  addition  to 
cotton  in  their  manufacture  of  paper.  The  pro<lucts  of  their 
mills  are  known  to  have  been  of  a  most  superior  quality,  but, 
with  the  decline  of  the  ]\Ioors,  paper-making  passed  into  less 
skilled  hands,  and  the  quality  of  the  paper  became  inferior. 

From  Spain  the  art  spread  through  the  other  countries  of 
Europe,  and  as  factories  were  established  further  north,  where 
cotton  was  not  a  product  nor  easy  to  import,  the  necessity  of  sub- 
stituting some  other  material  probably  led  to  the  introduction  of 
linen  rags ;  but  when  they  began  to  be  used  is  uncertain.  Eng- 
land was  far  behind  the  other  countries  of  Northern  Europe  in 
introducing  the  industry  of  paper-making. 

25 


26 


CONSTRUCTION  WORK 


-(•< 

1" 

2 

^» 

SCREEN— SIX-BY-NINE-INCH  CONSTRUCTION  PAPER 


PAPER  CONSTRUCTION  27 

In  the  United  States  to-day  paper  in  all  varieties  is  manufac- 
tured to  an  enormous  extent,  and  almost  exclusively  from  vege- 
table matter.  The  book  and  newspaper  trades  demand  an  untold 
quantity. 

There  are  three  great  types — writing,  printing,  and  wrapping 
paper.  Writing  paper  is  made  from  rags  and  wood  pulp.  The 
staple  for  wrapping  paper  is  old  rope,  and  in  some  cases  jute. 
The  best  writing  and  printing  papers,  however,  are  made  from 
rags.  From  these  as  staples,  all  other  varieties  are  developed, 
►^  and  we  have  paper  for  every  use  to  which  man  can  apply  it. 
=r  Paper  folding  and  modeling  is  not  an  ancient  occupation,  but  a 

^fmodern  device,  yet  to  the  child  it  has  a  utilitarian  value  not  to  be 
-  f  overlooked.  His  nature  demands  that  he  be  employed,  and 
change  of  occupation  is  conducive  to  his  happiness.  Nothing  is 
quite  so  restful  to  him  as  to  do  something  with  his  hands ;  there- 
fore, with  his  blocks  he  builds  a  house,  fences  it  around  with 
his  splints,  and  strews  the  ground  with  imaginary  trees  and  ani- 
mals.    He  lives  in  this  nursery  play,  and  in  it  he  is  happy. 

When  he  enters  school,  should  he  have  only  books?  No,  his 
hands  still  demand  employment.  He  is  now  led  to  fashion  from 
paper  what  he  has  already  made  with  his  blocks  and  toys.  He  is 
occupied,  he  is  interested,  and  he  is  cultivating  concentration  and 
industrious  habits.     Is  this  worth  while? 

Begin  the  lessons  with  a  talk  on  the  manufacture  and  uses  of 
paper.  By  a  story,  an  association  or  the  suggestion  of  a  future 
use  the  cliild  should  be  made  to  feel  that  he  is  doing  something 
worth  while.  This  will  accentuate  the  interest  and  deepen  the 
impression. 

All  models  given  may  be  increased  or  decreased  in  size  if  the 
proportions  are  adhered  to,  but  the  dimensions  stated  are  those 
commonly  used. 

A  Model  Lesson 
Aim — To  construct  a  windmill  or  pin-wheel. 

Each  child  should  have  a  five-inch  square,  a  slender  stick  five 
Inches  long,  a  pin,  a  ruler,  a  pair  of  scissors,  and  a  lead  pencil. 

The  children  are  supposed  to  know  that  every  piece  of  paper, 
faid  in  position,  has  a  back  edge,  a  front  edge,  a  right  edge,  a 
left  edge,  a  right-back  corner,  a  left-back  corner,  a  right-front 


28 


CONSTRUCTION  WORK 


comer,  a  left-front  corner,   and  that,   in  tracing,  the   forefinger 
of  the  right  hand  is  used. 

Three  questions  after  each  direction  will  be  sufficient.  The 
questions  aim  to  have  a  complete  statement  in  answer,  and  to 
develop  an  unconsciously  correct  use   of   the   verb.     This   may 


WINDMILL,  A 

appear  slow  at  first,  but  soon  the  replies  will  come  quickly  and 
the  answer  will  be  correctly  given. 

Teacher:  "Children,  lay  your  papers  on  your  desk  parallel 
with  the  front  edge  of  the  desk. — John,  where  are  you  to  lay  your 
paper?" 

John:  "I  am  to  lay  my  paper  on  my  desk  parallel  with  the 
front  edge  of  my  desk." 

Teacher:    "Mary,  where  did  you  lay  your  paper?" 

Mary:  "I  laid  my  paper  on  my  desk  parallel  with  the  front 
edge  of  my  desk." 


PAPER  CONSTRUCTION  29 

Teacher:    "Willie,  where  has  Mary  laid  her  paper?" 

Willie:  "Mary  has  laid  her  paper  on  her  desk,  parallel  with  the 
front  edge  of  her  desk." 

Teacher:  "Trace  the  back  edge  of  your  paper. — Anna,  what 
are  you  to  do  to  your  paper?" 

Anna:    "I  am  to  trace  the  back  edge  of  my  paper." 

Teacher:    "Harry,  what  did  you  do  to  your  paper?" 

Harry:    "I  traced  the  back  edge  of  my  paper." 

Teacher:    "Jessie,  what  have  you  done  to  your  paper  ?" 

Jessie:    "I  have  traced  the  back  edge  of  my  paper." 

Teacher:  "Each  child  place  the  forefinger  on  the  right-back 
corner  of  the  paper. — Charles,  what  are  you  to  do?" 

Charles:  "I  am  to  place  my  forefinger  on  the  right-back  cor- 
ner of  my  paper." 

Teacher:    "Anna,  what  did  you  do?" 

Anna:  "I  placed  my  forefinger  on  the  right-back  corner  of 
my  paper." 

Teacher:    "Laurence,  what  have  you  done?" 

Laurence:  "I  have  placed  my  forefinger  on  the  right-back  cor- 
ner of  my  paper." 

Teacher:  "Take  your  ruler  and  lay  it  across  your  paper  from 
the  left-back  corner  to  the  right-front  corner. — Margaret,  what 
are  you  to  do?" 

Margaret:  "I  am  to  lay  my  ruler  on  my  paper  from  the  left- 
back  corner  to  the  right-front  corner." 

Teacher:  "Draw  a  line  connecting  the  left-back  corner  of 
your  paper  with  the  right-front  corner. — James,  what  did  you 
draw  ?" 

James:  "I  drew  a  line  connecting  the  left-back  corner  of  my 
paper  with  the  right-front  corner." 

Teacher:    "Alice,  what  have  you  drawn  ?" 

Alice:  "I  have  drawn  a  line  connecting  the  left-back  corner 
of  my  paper  with  the  right-front  corner." 

Now  have  the  children  draw  a  line  connecting  the  reverse  diag- 
onal corners  and  proceed  as  follows : 

Teacher:  "Find  the  point  where  the  lines  cross.  This  is  the 
center  or  middle  point  of  your  paper. — Albert,  what  are  vou  to 
find?" 

Albert:  "I  am  to  find  the  point  where  the  lines  cross,  which 
is  the  center  of  my  paper." 


30 


CONSTRUCTION  WORK 


Teacher:  "Measure  one  inch  from  this  point  on  each  of  the 
four  lines  and  place  a  dot. — Sara,  what  did  you  measure?" 

Sara:  "I  measured  one  inch  from  the  center  of  my  paper  on 
each  of  the  four  lines  and  placed  a  dot." 

Teacher:  "Lay  your  pencil  and  your  ruler  down.  Place  your 
paper  on  your  desk  parallel  with  its  front  edge  and  lay  your  left 
hand  on  the  right-front  corner.  Turn  the  paper  until  this  cor- 
ner is  directly  in  front  of  you.    Take  your  scissors  and  cut  along 


WINDMILL,  B 

the  ruled  line  from  the  corner  to  the  point  one  inch  from  the 
center. 

"Lay  down  your  scissors.  Turn  your  paper  from  right  to  left 
until  the  next  corner  faces  you.  Cut.  Move  the  paper  from 
right  to  left  again  until  the  third  corner  faces  you.  Cut.  Bring 
the  fourth  corner  to  face  you.  Cut.  There  are  now  eight  points. 
Turn  each  alternate  point  to  the  center,  run  the  pin  through  all  of 
them  and  fasten  the  wheel  to  the  stick." 


PAPER  CONSTRUCTION  31 

Final  questions. 

Teacher:    "What  did  you  make?" 

Pupil:     "I  made  a  pin-wheel." 

Teacher:    "What  have  you  made?" 

Pupil:     "I  have  made  a  pin-wheel." 

Teacher:    "What  has  Ellen  made?" 

Pupil:     "Ellen  has  made  a  pin-wheel." 

When  older  pupils  have  completed  a  model  it  is  excellent  prac- 
tice to  have  them  write  a  full  description  of  how  it  is  made  and 
the  materials  used. 

1     Windmill,  or  Pin-Wheel 

Material — One  piece  of  construction  paper,   5x5   inches.     Stick, 
5x^4 x/4  inches.     One  pin.     (See  pages  28  and  30.) 

Fold  the  square  on  the  diagonals.  Cut  the  diagonals  to  within 
one-half  inch  of  the  center.  Bend  alternate  corners  over  until 
the  point  of  each  touches  the  center.  Fasten  the  four  points  in 
the  center  by  running  the  pin  through  them  and  driving  it  into 
the  stick. 

2     Square  Tray  No.  I 
Material — Construction  paper,  5x5  inches.     (See  page  32.) 

Measure  oflf  one  inch  on  four  sides,  and  connect  the  points 
with  a  line  parallel  to  the  edge  of  the  paper.  Score  lightly  each 
line.  Cut  out  the  four  corner  squares.  Turn  up  the  sides,  fasten 
the  corners  together  with  rafifia  or  cord,  tying  a  small  bow. 

3     Square  Tray  No,  II 

Material — Construction  paper,  5x5  inches.     (See  page  33.) 

Fold  and  crease  into  sixteen  small  squares.  Score  lightly  the 
four  lines  nearest  the  outer  edge.  Draw  one  diagonal  pointing 
toward  the  center  of  each  corner  square.  Next  draw  half  of  the 
diagonal  extending  in  the  opposite  direction.  Fold  the  paper  on 
the  lines  scored.  Crease  the  diagonals  1 — 2,  making  the  crease 
extend  to  the  inside  of  the  tray,  and  press  until  lines  1 — 4  and 
1 — 3  meet.  Now  we  have  a  triangle  on  the  inside  of  the  tray. 
Fold  this  over  on  half-diagonal.  No.  5.  and  press  to  the  side  of 
the  tray.    This  will  fasten  together  firmly  the  corners  of  the  tray 


32 


CONSTRUCTION  WORK 


N 

•                                                                        # 

/ 

• 
• 

• 
• 

•                                                                         » 

SQUARE  TRAY  No.  I — (For  description  see  page  31.) 


4     Square  Box  with  Cover 

Materials — Construction  paper,  6x6  inches.     (See  page  34.) 

Measure  off  from  the  outer  edge  two  Hues,  one  inch  apart. 
Score  these  Hnes.  In  each  corner  there  are  four  one-inch  squares. 
Cut  off  1,  2,  and  3;  then  draw  the  diagonal  of  4  pointing  toward 
the  center  of  the  paper.  Crease  and  fold  on  these  diagonals,  ex- 
tending the  triangle  inward.  Fold  this  triangle  over  to  half  its 
size ;  press  to  the  inside  of  the  box.  Edges  5 — 6,  5 — 7  will  meet 
to  form  the  corners  of  the  box,  and  cover  flaps  8 — 9  will  fall 


PAPER  CONSTRUCTION 


33 


naturally  into  place.     Result,  box   four  inches  square,  one  inch 
deep,  with  folding  cover. 

5     Square  or  Rectangular  Box 

Material — Construction  paper,  4x4  inches  or  4x6  inches. 

Measure  off  a  margin  one  inch  all  around,  and  score.     Cut  as 
indicated  on  page  35.     Fold  over  the  border  to  half  its  width. 


SQUARE  TRAY  Xo.  II — (For  description  see  page  31.) 


CONSTRUCTION  WORK 


, — 'i'UJ- 


Ld. 


ToU 


SQUARE  BOX  WITH  COVER- (For  description  see  page  32.) 


as  1  over  to  2.  Bend  up  on  line  2 — 3.  When  the  edge  is  folded 
over  a  little  tongue  is  formed  at  each  end.  Slip  this  tongue  under 
the  fold  of  the  adjacent  side,  and  it  will  fasten  the  sides  of  the 
box  firmly  together.  A  lid  may  be  made  exactly  as  the  box  is 
made. 

A  beautiful   Christmas  box   may  be  made  of   red  paper,   or 


PAPER  CONSTRUCTION 


35 


3  - 


1 

f — 

Hi 

_    Cni-tM^-Wd. 

.1                         f«.,^,L       *i«^A. 

"  eZje" 

— 

« 
I 

"siX; 

3 

] 

1 

ill 

1 

1 J 

SQUARE  BOX — (For  description  see  pages  33  and  34.) 

gray  decorated  witli  holly.     Made  of  white  paper,  with  a  chicken 
(m  yellow)  painted  on  the  lid,  it  is  appropriate  for  Easter. 

6     Pencil  Box  with  Sliding  Cover 

Material — Construction  paper :  one  7-inch  square ;  one  rectangle 
4x9  inches.  (See  page  36.) 
Drati'cr.  Lay  the  rectangle  on  the  desk  with  the  nine-inch  edge 
parallel  with  the  front  edge  of  the  desk.  Draw  a  line  one  inch 
from  the  back  edge  and  parallel  with  it.  Draw  a  line  one  inch 
from  the  front  edge  and  parallel  with  it.  Draw  a  line  one  inch 
from  the  right  edge  and  parallel  with  it ;  and  a  line  one  inch  from 
the  left  edge  and  parallel  with  it.  Score,  bend  and  crease  on 
these  lines.  Cut  the  lines  on  the  right  and  the  left  edges  to  where 
they  intersect  the  lines  on  the  back  and  the  front  edges.  Fold  and 
glue.  The  laps  are  pasted  on  the  inside  and  give  strength  to  the 
ends  of  the  drawer. 


36 


CONSTRUCTION  WORK 


Cover  (seven-inch  square).  Measure  off  one  and  one-fourth 
inches,  and  construct  a  line  parallel  to  the  back  edge.  Measure 
one  inch  and  draw  a  line  parallel  to  this.     Measure  off  two  and 




/" 

///•    X).Aa^     Fx^c^  n 


v^. 


/"x7"    C'<^'^       Pe^-ncjJ    Idcy 


FENXIL  BOX  WITH  SLIDING  COVER 


one-sixteenth  inches  (shy)  and  draw  a  third  parallel  line.  Meas- 
ure one  inch  again  and  draw  a  fourth  line  parallel  to  the  other 
three.     Score  and  fold  on  these  lines.     Lap  the  space  at  the  back 


PAPER  CONSTRUCTION 


edge  over  the  space  at  the  front  edge  until  they  form  a  rectangle 
two  and  one-sixteenth  by  seven  inches  in  size,  to  correspond  with 
the  opposite  one,  which  is  the  top  of  the  cover.  Glue.  Slide  in 
the  drawer  and  the  pencil  box  is  completed. 

7     Seed  Box  with  Sections 
Material — Construction   paper:   two    rectangles   8x9   inches;   one 
rectangle  2x5y2   inches;  one  rectangle  ZxA-yz   inches.      (See 
page  38.) 

Take  one  8x9-inch  rectangle  for  the  body  of  the  box  and  lay  off 
a  two-inch  space  all  around.  Cut  on  dotted  lines.  Score  and 
crease,  fold  and  glue.  The  laps  are  glued  to  the  inside  and  each 
one  turned  to  the  right.  When  the  partitions  are  put  in  the  laps 
mark  where  the  ends  go,  as  well  as  brace  the  ends  of  them.  Take 
the  two  rectangles,  2x4^  inches  and  2x5^  inches,  and  draw  a 
line  one-half  inch  from  each  of  the  two-inch  edges.  Score  and 
crease.  These  form  the  laps  for  pasting  the  partitions  in.  On 
these  partitions  turn  all  four  laps  to  the  right,  to  coincide  with  the 
laps  on  the  box.  Dovetail  the  partitions  by  cutting  a  slit  one 
inch  deep  in  the  center  of  each  and  slipping  one  over  the  other. 
Next  glue  them  to  the  inside  of  the  box. 

Cover.  Take  the  second  8x9-inch  rectangle  and  mark  off  a 
two-inch  space  (shy)  all  around.  Find  middle  of  nine-inch  edges 
and  draw  lines  1 — 2,  2 — 3,  and  2 — 4.  Cut  out  these  two  trian- 
gles. Cut  the  corners  on  the  dotted  lines.  Score,  fold,  and  glue. 
Notice  that  in  the  lids  the  laps  are  not  turned  as  in  the  body  of 
the  box.  Here,  as  in  the  drawer  of  the  pencil-box,  the  laps  are 
glued  to  the  ends  of  the  cover,  concentrating  strength  there  and 
producing  symmetry  in  construction. 

8     Picture  Frame  No.  I — Diagonal  Folds 

Material — Construction  paper,  5x5  inches.      (See  page  39.) 

Fold  on  the  diagonals.  Bring  each  corner  over  until  it  touches 
the  center;  crease.  Fold  each  corner  back  again  until  its  point 
touches  the  outside  edge  at  the  middle  section ;  crease. 

9     Picture  Frame  No.  II 

Material — Construction  paper,  43/xl6iX  inches.     (See  page  40.) 
Divide  the  length  into  three  equal  parts,  making  three  rectangles 


38 


CONSTRUCTION  WORK 


a 

6 

0 

i 

1 

1 

1 

% 

• 

I                     ■   ■  ■ 
1 

X" 

1               ^ 

A 

•^ 

1                 '  <  . 

1                :>■■'■■■    ^-^ 

SxatunrxaJl.  Sjsj!  o(    D<r^  ^''  X  /?   ' 


PoA  U  tiayx.    ^^  T'  X  .3  " 


PojdxtLoia.  '   H'-^^' 


SEED  BOX  WITH  SECTIONS— (For  description  see  page  37.1 


PAPER  CONSTRUCTION 


39 


PICTURE  FRAME  No.  I — (For  description  see  pagre  37.) 

4}^x5y2  inches  in  size.  In  the  middle  rectangle,  measure  off  and 
cut  out  a  rectangle  2}^x3  inches  in  size.  Fold  rectangle  Xo.  3 
up  and  back  of  rectangle  No.  2.  Holding  the  two  tirmly  to- 
gether, punch  two  holes,  one-fourth  inch  apart,  on  each  side,  and 
one-fourth  inch  from  the  outer  edges  (see  diagram).  Draw  a 
piece  of  raffia  or  ribbon  through  these  holes  and  tie  in  a  bow. 
Fold  back  rectangle  No.  1  for  support. 


40 


CONSTRUCTION  WORK 


PICTURE  FRAME  No.  II— (For  description  see  pages  37  and  39.; 

10     Portfolio 

Material — Heavy  manila  paper,  7j/2xl2  inches.     (See  page  41.) 

Fold  edge  No.  1  over  and  even  with  edge  No.  2.  Crease  and 
fold.  On  each  side  of  A  mark  and  cut  off  one-half  inch.  Clip 
off  the  corners  of  the  flaps  on  B.  Fold  the  flaps  of  B  over  on 
A  and  paste.  Find  the  middle  of  edges  1  and  2.  With  a  radius  of 
one  inch,  describe  a  semicircle  and  cut  it  out. 


PAPER  CONSTRUCTION 


41 


rN 


Iz 


PORTFOLIO— (For  description  see  page  40.) 

1 1     Barn — House — Furniture 

Material — Construction  paper,  8x8  inches  or  10x10  inches.  (See 
page  42.) 

Fold  a  square  into  sixteen  small  squares  of  equal  size ;  crease. 
With  this  as  a  basis  throw  the  child  on  his  own  resources,  allow- 
ing- him  to  invent  a  pattern  and  make  a  chair,  a  sofa,  or  any  piece 
of  furniture  that  he  can  devise  from  such  a  square.  A  corner 
may  have  to  be  cut  out  or  a  slit  made,  but  impress  upon  the  child 
that,  as  far  as  possible,  the  model  must  be  gotten  by  folding, 
with  very  little  or  no  cutting. 

By  using  a  larger  square  and  folding  in  the  same  way,  a  house 


42 


CONSTRUCTION  WORK 


or  a  barn  may  be  made.     Add  a  chimney  and  steps  from  an  extra 
piece  of  paper. 

12     Hexagonal  Tray 

Material — Construction  paper,  7x7  inches. 

Dr?w  one  diameter ;  find  the  center.  With  a  radius  of  three 
and  one-half  inches  describe  a  circle.  (The  circumference  of  a 
circle  is  six  times  the  radius).  Place  a  point  of  the  compass  at 
one  intersection  of  the  circumference  and  the  diameter,  and  di- 
vide the  circle  into  six  equal  parts.    With  a  radius  of  two  inches. 


PAPER  CONSTRUCTION 


43 


HEXAGONAL  TRAY 


describe  an  inner  circle  parallel  to  the  outer  one.  Connect  oppo- 
site points  of  the  outer  circle  by  drawing  two  more  diameters. 
This  will  divide  the  inner  circle  into  six  equal  parts.  Connect  by 
straight  lines  the  adjacent  points  of  the  inner  circle,  as   1 — 2 ; 


44 


CONSTRUCTION  WORK 


score.  At  the  intersections  of  the  outer  circle,  mark  off  one-half 
inch  on  each  side  and  by  straight  lines  connect  both  these  points 
with  the  opposite  points  of  intersection  of  the  inner  circle,  as 
2 — 3,  2 — 4.  This  forms  two  equal  triangles,  one  of  which  is  to 
be  cut  out,  as  4 — 2 — 5,  and  the  other,  as  3 — 2 — 5,  left.  Having 
cut  out  the  six  triangles,  bend  up  on  lines  scored,  bring  the  sides 
together,  and  use  triangle  3 — 2 — 5  as  a  lap  for  pasting. 

13     Lamp  Shade 

Material — Construction  paper,  7x10  inches.     Japanese  rice   pa- 
per, 7x10  inches. 

Select  a  pretty  shade  of  brown,  green  or  red  construction  paper. 
Measure  off  two  inches  and  construct  a  line  parallel  to  the  ten- 
inch  length.  Bisect  this  line.  Place  the  compass  at  this  point  of 
bisection  and  with  a  radius  of  four  inches  describe  a  semicircle, 


LAMP  SHADE,  A 

1 — 2  ;  extend  this  arc  to  3,  and  draw  the  line  3 — 4.  With  a  radius 
of  one  inch  describe  an  inner  semicircle  (5 — 6)  parallel  to  the 
outer  one.  Again,  with  a  radius  of  one  inch  describe  a  third  semi- 
circle, parallel  to  the  other  two.  Set  the  compass  at  half  the 
radius  and  divide  each  semicircle  into  six  equal  parts.  Con- 
nect these  points  of  intersection  by  straight  lines  (9 — 10).    Make 


PAPER  CONSTRUCTION  45 

a  stencil  that  will  fit  in  one  of  these  sections.  Using  the  stencil, 
draw  the  same  figure  in  each  section.  Carefully  cut  out  the  sten- 
ciled space.  Next  lay  the  construction  paper  on  the  Japanese  rice 
paper  and  trace  on  it  the  stencil  design.  Remove  the  construction 
paper  and,  with  two  blending  colors  of  crayon,  color  the  figure  or 
design  traced  on  the  Japanese  paper.     Again,  lay  the  construction 


LAMP  SHADE,  B 

paper   on   the   rice  paper  and   glue   the   two   together.      Cut  out 
the  shade  as  marked  off,  bring  the  two  edges  together,  and  glue. 

If  you  wish  the  lower  edge  scalloped,  cut  it  as  shown  in  the 
diagram.  By  folding  and  creasing  on  the  lines  of  intersection  the 
shade  may  be  made  hexagonal  in  shape.  All  designs  for  decora- 
tion are  supposed  to  be  original. 

14     Star 
Material — Construction  paper,  two  8-inch  squares.  Raffia. 

Take  an  eight-inch  square.  Fold  the  front  edge  over  to  the 
back  edge;  crease.  On  the  left  edge  place  a  point  one  and  one- 
half  inches  from  the  left-back  corner.  Carry  the  right-front  cor- 
ner over  to  this  point ;  fold  and  crease.  Turn  the  left  triangle 
under;  fold  and  crease.  Next,  as  the  paper  stands  in  your  hand 
with  the  triangle  facing  you,  fold  the  right  edge  over  to  the  left 
edge;  crease.  Where  the  three  edges  of  the  paper  come  to- 
gether, begin  at  the  highest  point  and  cut  across  the  paper  from 
right  to  left  to  within  two  and  one-half  inches  of  the  center. 
Open  out  the  paper  and  you  have  the  star. 

A  picture  frame  made  of  a  five-pointed  star  is  very  pretty. 
Cut  two  stars  of  the  same  size.  From  the  center  of  one  cut  a 
star  one  inch  smaller  for  a  mat.     Lav  this  mat  on  the  solid  or 


46 


CONSTRUCTION  WORK 


foundation  star  and  glue  four  of  the  points  together.  In  the  fifth 
point  pierce  two  holes  through  both  pieces,  about  an  inch  from 
the  apex  of  the  point.  Slip  in  the  picture.  Take  a  piece  of  raffia 
or  cord  and  tie  a  loop  with  two  ends.     Bring  these  ends  through 


PICTURE  FRAME  FROM  FIVE-POINTED  STAH 

the  holes  from  the  back  to  the  front  and  tie  them  in  a  bow.     By 
the  loop  at  the  back  the  frame  is  hung. 


15     Notebook 

Material — Construction  paper,  63^x7  inches,  for  cover, 
paper,  four  pieces  6x6^^  inches,  for  leaves. 


Manila 


PAPER  COx\STRUCTION 


47 


Fold  the  piece  of  construction  paper  down  the  middle,  so  as  to 
form  the  3^x6^ -inch  cover.  In  the  same  way  crease  the  ma- 
nila  paper  for  the  leaves.  Place  the  leaves  within  the  cover ; 
with  heavy  silk  or  fine  twine  sew  them  to  the  back.  Bring  the 
needle  through  one  inch  from  the  upper  edge,  one  inch  from  the 
lower  edge,  and  in  the  middle.     The  long  stitch  is  on  the  inside, 


NOTEBOOK 

the  two  short  ones  are  oh  the  outside,  both  ends  of  the  thread 
are  brought  through  the  center  to  the  inside  and  tied  over  the 
long  stitch  to  hold  it  in  place.  Leave  the  ends  an  inch  long  and 
fringe  them. 

16     Bound   Book 

MatermI — Heavy  construction  paper,  colored,  5x6  inches,  for 
cover.  Four  pieces  white  paper,  \iy2xi9y2  inches,  for  leaves. 
Two  pieces  tape,  j^ixl  inches. 


4S 


CONSTRUCTION  WORK 


Cover.  Mark  off  and  rule  two  and  seven-eighths  inches  from 
each  edge  of  the  five-inch  length;  crease.  This  will  leave  in  the 
middle  a  34x5-inch  space,  in  which  the  back  of  the  leaves  will  go. 
Take  each  sheet  of  white  paper,  fold  it  once  lengthwise,  and  once 
crosswise;  this  will  make  a  "folio"  four  leaves  thick,  2^x5^ 
inches  in  size.  We  have  four  of  these  folios  to  be  joined  together 
and  bound  to  the  back.  Take  folio  No.  1  and  with  needle  and 
silk  sew  the  leaves  together,  running  the  thread  one  inch  from  the 

upper  edge  and  one  inch  from  the 
lower  edge  and  in  the  center,  seeing 
that  the  last  stitch  brings  the  thread 
on  the  outside  of  the  back  of  the 
leaves.  Do  not  break  the  thread. 
Take  folio  No.  2,  hold  it  close  to  folio 
No.  1,  carry  the  thread  across  and 
take  it  through  the  middle  of  the  back, 
one  inch  from  front  or  back  edge,  as 
in  folio  No.  1. 


acr3 


BOUND  BOOK 


On  the  back  edges  of  these  folios  there  will  be  two  long  stitches. 
Under  these  stitches  pass  the  two  pieces  of  tape.  Keep  one  of 
these  tapes  as  near  the  upper  and  the  other  as  near  the  lower 
edge  as  the  stitch  will  allow.  As  a  folio  is  added  and  the  leaves 
sewed  together,  connect  the  exposed  stitch  of  the  one  previouslv 
added  to  the  one  last  added,  at  the  three  places  where  the  thread 
holds  the  leaves,  by  a  buttonhole  stitch  (in  bookbinding  known  as 
the  "kettle  stitch").  When  the  last  folio  is  added,  place  the  back 
of  the  leaves  to  the  back  of  the  cover  in  the  j4x5-inch  space. 


PAPER  CONSTRUCTION 


49 


Stretch  the  tapes  down  on  the  cover  and  paste  (1 — 3).  Take  tlie 
first  and  the  last  leaf  and  paste  them  over  the  tapes,  to  the  in- 
side of  the  cover.  The  outside  of  the  cover  may  have  some  sim- 
ple decoration  if  such  is  desired. 

In  Book  VII  of  the  Text  Book  of  Art  Education,  published  by 
The  Prang  Educational  Company,  is  worked  out  a  very  interest- 
ing problem  for  the  making  of  a  scrap-book,  and  suggestions  given 
for  decorating  the  cover.  The  scrap  or  clipping  books  shown 
here  were  made  in  a  similar  way.  The  decoration  and  cover  are 
left  to  the  taste  and  ingenuity  of  the  teacher  or  the  child. 

17     Japanese  Book 

Material — Construction  paper,  colored,  4ylxl2%  inches,  for 
cover.  ]\Ianila  paper,  six  leaves,  4x6  inches,  double,  with 
fold  on  outer  edge. 

The  paper  for  the  cover  is  4^4x12^4  inches  in  size.  Place  the 
paper  lengthwise  in  front  of  you  and  bring  the  left  edge  over  to 


JAPANESE  BOOK 


the  right  edge;  crease,  fold.  Mark  off  a  space  three-fourths  of 
an  inch  from  the  edge  of  the  fold,  draw  a  line,  A — L.  On  this 
line  three-quarters  of  an  inch  from  the  upper  and  the  lower 
edges,  place  dots,  B  C,  and  one-fourth  inch  from  B  C  place  dots 
D  E.  Hold  the  leaves  evenly  togetiier  and  press  them  in  between 
the  cover.     With  a  large  needle  and  cord  sew  through  C,  under, 


50 


CONSTRUCTION  WORK 


up,  and  over  A,  through  C  again,  under  to  F,  over  through  C, 
under  and  up  tlirough  E,  back  to  G,  under  and  up  through  E, 
down  to  D,  through  and  over  H,  back  to  D,  down  and  up  through 
D,  then  to  B;  down  under  to  K,  back  to  B,  through  and  under 
and  around  to  L,  to  B,  to  D,  to  E,  to  C.  Tie  the  two  ends  of  the 
cord,  which  come  together  at  C,  and  fringe  them  out. 


SCRAP  OR  CLIPPING  BOOK 
Cover  of  grass  cloth. 


18     Scrap-Book 

Material — Construction    paper,    colored:    Gyiy&yi     inches,     for 

cover.     Manila  paper:  three  leaves  6x8  inches;  three  strips 

1^x6  inches.    Two  paper  clamps. 

Double  ithe  6x8-inch  leaves  into  six  leaves  4x6  inches  in  size. 

Between  leaves  1  and  2,  3  and  4,  5  and  6,  place  the  l>^x6-inch 

guards  at  the  back.     Have  leaves  and  guards  even  and  compact; 


PAPER  CONSTRUCTION 


51 


then  set  them  between  the  cover.  Aleasure  from  the  back  edge 
of  the  cover  a  space  three-quarters  of  an  inch  wide,  and  draw  a 
pencil  line.  Placing  the  sharp  edge  of  a  ruler  on  this  linf,  bend 
the  back  edge  toward  the  front  until  it  is  well  creased.     In  the 


SCRAP  OR  CLIPPING  BOOK 
Cover  of  linen,  stenciled. 


center  of  this  -j 4 -inch  space,  one  inch  from  the  upper  edge  and 
one  inch  from  the  lower  edge  of  the  book,  pierce  a  hole  and  insert 
the  brass  clamps. 

A    PASTE 

Mix  until  perfectly  smooth  one  cup  of  flour  with  one  cup  of 
cold  water. 

Put  two  cups  of  water  in  a  vessel  and  set  it  over  the  fire  until 
it  heats.  (Do  not  let  it  boil.)  Add  one  teaspoonful  of  powdered 
alum,  then  stir  in  the  mixture  of  flour  and  cold  water.     Continue 


52 


CONSTRUCTION  WORK 


stirring  until  it  thickens  to  a  good  consistency.  Remove  it  from 
the  fire  and  add  one  teaspoon ful  of  oil  of  cloves  or  peppermint. 
Pour  it  into  an  air-tight  jar  and  when  it  is  cool  screw  on  the  top. 


SCRAP  OR  CLIPPING  BOOK 
Cover  of  fancy  paper — (For  description  see  pages  51  and  52.) 

Use  the  same  cup  all  through.  The  oil  of  cloves  or  pepper- 
mint is  simply  a  flavoring,  and  does  not  add  to  the  quality.  This 
quantity  will  nearly  fill  a  quart  jar. 


PART  III 
WOOD  CONSTRUCTION 


WOOD   CONSTRUCTION 

Introductory  Remarks 

As  THE  child  develops,  paper  construction  loses  its  charm,  and  a 
desire  for  something  utilitarian  arises.  We  suggest  that  at  this 
stage  the  much-treasured  pocket  knife  be  brought  into  service,  for 
from  small  pieces  of  wood  many  articles  may  be  made.  The  con- 
struction of  these  will  afford  the  child,  especially  the  boy,  much 
pleasure,  and  will  at  once  arouse  a  new  interest. 

Only  the  simplest  articles  will  be  given  here — articles  which 
may  be  fashioned  from  bits  of  wood  commonly  found  around  a 
house,  such  as  old  cigar  boxes,  small  starch  boxes,  etc.  But, 
should  the  teacher  be  able  to  obtain  the  proper  materials,  bass- 
wood  a  quarter  or  three-eighths  of  an  inch  thick,  and  whittling 
knives  are  the  requisites. 

The  reader  will  notice  that  the  wood  mentioned  for  each 
model  is  bass.  Why?  Because  bass  is  the  wood  generally  used 
for  carving.  The  tree  is  the  same  as  the  linden  and  the  lime.  It 
is  found  in  northern  Asia,  Europe,  and  North  America,  and 
grows  to  an  immense  height.  The  wood  is  soft,  light,  close- 
veined,  pliable,  tough,  durable,  and  free  from  knots,  and  does  not 
split  easily ;  all  of  which  qualities  favor  its  suitability  for  carving. 

In  whittling,  it  is  always  best  to  lay  off  the  pattern  on  both 
sides  of  the  wood.  Then  one  can  work  from  either  side  without 
fear  of  spoiling  the  material. 

In  cutting,  work  with  the  grain,  or  the  wood  will  be  apt  to 
split.     Cut  toward  you,  not  from  you. 

In  grooving,  use  the  point  of  the  knife,  and  work  slowly  and 
carefully.     If  the  knife  slips  the  wood  is  ruined. 

Insist  that  nothing  the  child  does  is  well  done  unless  well  sand- 
papered, and  nothing  is  properly  sand-papered  until  all  rough- 
ness is  done  away  with,  and  the  grain  appears. 

In  the  making  of  designs,  let  the  child  first  have  a  piece  of  pa- 
per the  size  of  the  wood  he  is  to  use.  and  have  him  work  out  a 
design  to  be  applied  to  his  wood.    This  design  may  be  most  crude, 

55 


56  CONSTRUCTION  WORK 

but  with  a  suggestion  here,  and  a  correction  there,  from  the 
teacher,  it  can  be  brought  into  shape.  The  child  will  be  pleased, 
and  will  attack  with  more  assurance  of  success  each  succeeding 
problem  that  he  meets. 

For  coloring,  use  water  color  paints.  Red,  green,  and  yellow 
are  most  satisfactory,  as  their  identity  is  retained  when  staining 
is  applied. 

Apply  the  stain  with  a  brush,  and  with  a  soft  cloth  rub  it  in 
until  it  is  dry.     This  develops  or  brings  out  the  grain. 

When  sure  that  the  stain  is  well  rubbed  in  and  dry,  apply 
butcher's  wax,  and  polish  with  a  soft  cloth.  Some  articles  need 
two  coats  of  stain,  and  an  equal  amount  of  polish. 

In  all  work  impress  upon  the  child  the  fact  that  what  is  worth 
doing  is  worth  doing  well,  or  it  should  not  be  done  at  all. 

Each  model  given  works  out  a  problem  in  handling  the  knife 
and  cutting  the  wood,  and  each  problem  leads  up  to  the  one 
that  follows. 

We  will  begin  with  the  simplest  thing  one  can  make — a  puzzle. 

1     Puzzle 

Problem — To  cut  with  the  grain  of  the  wood,  and  how  to  cut 
corners.     (See  page  59.) 

Material — Basswood:    one    piece   7xlJ/^x3-16    inches;    one    piece 
3xlJ/x3-16  inches.     One  yard  of  macrame  cord. 

Shave  the  /xl^^-inch  strip  of  wood  down  with  a  knife  until  it 
is  an  inch  wide,  being  careful  to  keep  the  edges  parallel.  Meas- 
ure off  three-eighths  of  an  inch  in  opposite  directions  on  each 
corner  and  on  both  sides  of  the  wood.  Connect  these  points  by  a 
pencil  line.  Cut  off  each  corner  the  space  indicated  by  the  line. 
Be  careful  always  to  cut  with  the  grain  of  the  wood;  cutting 
against  it  will  split  the  board.  Next,  three-fourths  of  an  inch 
from  each  end,  and  equally  distant  from  the  sides,  and  in  the 
center,  bore  holes.  From  the  SxljZ-inch  piece  of  wood,  cut  two 
blocks  one  and  one-half  inches  square,  and  bore  a  hole  in  the  cen- 
ter of  each.  Double  the  string  to  a  loop  and  draw  this  loop 
through  the  center  hole  of  the  rectangular  strip.  Pull  the  loop  to 
the  edge,  and  draw  through  it  the  two  ends  of  the  cord.  String 
the  13^-inch  blocks,  one  on  each  cord,  then  tie  the  ends  of  cord  in 
the  two  end  holes  of  the  rectangular  strip. 


WOOD  CONSTRUCTION 


57 


The  puzzle  is  finished.  What  is  the  aim,  and  how  can  it  be 
solved  ? 

Solution.  Mark  one  block.  Hold  one  in  the  hand  and  move  the 
other    along    until    it    passes    through    the    loop    at    the    center. 


j7x't'^i\ 


3X1^  x^ 


PUZZLE 


Pull  the  cord  through  the  middle  hole  until  it  draws  with  it  four 
thicknesses  of  cord.  Now  slide  the  block  along  until  it  passes 
through  a  double  loop.  Next,  draw  this  double  loop  back  through 
the  hole ;  the  string  will  be  in  position,  and  the  block  is  now  passed 
along  through  a  single  loop  and  onto  the  string  containing  the 


58 


CONSTRUCTION  WORK 


Other  one.     To  replace  the  block,  turn  the  puzzle  around  and 
repeat  the  process. 

2     Plant  Label 

Problem — To  cut  across  the  grain,  and,  by  removing  two  equal 

triangles,  to  form  a  well-tapered  point. 
Material — One  piece  of  basswood,  6xlx^  inches. 


oSi" 


T-^o^t   J:cLldL^        C  >^/  x:^ 


Plau^t  ip  &<X 


PLANT  LABEL 

Take  the  end  A  B  and  find  the  center,  C.  From  A  measure 
off  two  and  a  half  inches,  and  place  point  D.  From  B  measure 
off  two  and  a  half  inches,  and  place  point  E.  Connect  points  CD 
and  CE.  Place  the  same  measurements  on  the  reverse  side. 
With  the  knife  cut  off  triangles  A — C — D  and  B — C — E.  Sand- 
paper the  wood  until  it  is  smooth  and  the  label  is  finished. 

3     Pencil  Sharpener 
Problem — Curve-cutting. 

Material — One  piece  of  basswood,  6^x1^x54  inches.  One  piece 
of  sandpaper,  1x33^  inches.  Glue.  Stain. 
On  the  wood  place  points  three  and  a  quarter  inches  from  each 
end,  at  A  and  B,  and  connect  them  by  line  A — B.  Place  points 
G  and  H  half  an  inch  from  C  and  D.  Start  your  curve  at  G,  pass 
through  I,  and  end  at  H.  In  the  rectangle  A — B — F — E  draw  a 
handle  as  indicated  in  the  diagram.  Shape  the  other  end  by  re- 
moving spaces  G — C — I  and  H — D — I.  Sandpaper  thoroughly. 
Shape  one  end  of  the  IxSyg-'mch  piece  of  sandpaper  as  curve 
G — I — H,  and  glue  it  to  the  wood.  Stain  the  wood  and  polish  it 
by  rubbing  it  with  a  soft  cloth. 


WOOD  CONSTRUCTION 


59 


Ji  " 


iC^i;'— ^ 


Sa^d.   Po^»<A.      IxSi" 


<^  5  ><  /-;  X  ^  ' 


PENXIL  SHARPENER 


4     Match  Scratch 

Problem — Curve  and  cross-grain  cutting. 

Material — One  piece  of  basswood,  3^x3x^4  inches.  One  piece 
of  sandpaper,  Zy^xS  inches.  Gkie. 
Place  a  point  at  the  center  of  Hne  A — B  and  of  line  C — D. 
Place  a  point  on  line  A — C  and  line  B — D,  one  and  one-quarter 
inches  from  A  and  B.  Connect  these  points  by  a  pencil  line,  and 
draw  another  line  one-eighth  of  an  inch  below.  Score  these  two 
lines  with  the  point  of  the  knife,  making  a  tiny  groove.  Draw 
curves  A — E  and  B — E,  the  highest  point  of  the  curve  being  half 


3^x5x^ 


-  -ft 

MATCH  SCRATCH 


60 


CONSTRUCTION  WORK 


an  inch  from  the  edge  A — E — B.  Draw  curves  G — F  and  H — F. 
Remove  spaces  1,  2,  3,  and  4.  Sandpaper  thoroughly  the  edges 
and  sides.  Shape  the  piece  of  sandpaper,  two  and  a  half  by  three 
inches,  to  fit  the  space  G — F — H,  allowing  a  quarter-inch  margin, 
and  glue  it  on.     Bore  a  hole  at  5.     Do  not  stain. 


KITE  STRIXG  WINDER 


5     Kite-String  Winder 

Problem — Cross-grain  cutting. 

Material — One  piece  of  basswood,  Sy2yi2y2x}i  inches. 

Pleasure  and  lay  oflf  as  shown  in  the  diagram,  and  cut  out  all 


WOOD  CONSTRUCTION  61 

spaces  indicated  by  dotted  lines.     Sandpaper  the  wood  until  it  is 
smooth.     Stain  the  winder  or  not,  as  is  preferred. 

6  Thermometer  Back 
Problem — Beveling  and  grooving.     (See  page  62.) 
Material — One  piece  of  basswood  6x3x^4  inches.     Stain. 

For  the  thermometer  back  the  measurements  need  be  placed  on 
but  one  side  of  the  wood. 

]\Iark  off  a  quarter-inch  from  the  edge  all  around  and  draw 
a  line.  Place  a  second  line  a  quarter-inch  within  this.  Using  the 
line  nearest  the  edge  as  a  guide,  cut  oft"  the  sharp  edges  on  the 
face  of  the  strip  of  wood  until  the  slant  surface  is  reached  be- 
tween the  line  and  the  back  edge.  This  makes  the  bevel.  The 
inner  line  is  a  guide  for  spacing  the  design.  Originate  a  simple 
design,  and  lay  it  off  on  the  board  in  pencil.  Then,  using  the 
point  of  the  knife,  with  the  greatest  care  groove  out  the  design. 
Place  a  hole  near  the  top  of  the  strip  by  means  of  which  to  hang 
it.  Notice  that  the  design  fits  around  the  hole.  Sandpaper,  stain, 
and  polish  the  wood. 

The  design  given  here  is  the  simplest  that  can  be  made.  It  is 
suggested  that  until  the  child  becomes  accustomed  to  working 
with  the  knife,  all  designs  for  grooving  had  better  be  confined  to 
straight  lines.  Combine  in  a  design  a  vertical,  a  horizontal,  and 
an  oblique  line,  and  some  beautiful  patterns  may  be  originated. 

7  Pocket  Pin-Cushion 

Problem — Circular    cutting,    grooving,    stenciling,    and    coloring. 

(See  page  63.) 
Material — Basswood  :  two  pieces,  3x3x}^  inches.  One  piece  of 
heavy  felt  3x3x^4  inches.  Glue.  Water-color  paints.  Stain. 
Find  the  center  of  each  square  of  wood  by  drawing  the  diag- 
onals. With  the  compass  at  the  radius  of  one  and  one-half  inches, 
describe  a  circle  on  each  piece  of  wood  (on  one  side  only).  Re- 
move spaces  A,  B,  C.  and  D  with  the  knife,  and  you  have  a  cir- 
cular block.  Remember  to  cut  with  the  grain.  Bevel  the  edges. 
Make  an  original  design  and  apply  it  to  your  wood.  With  the 
knife  groove  the  outline  of  this  design.  There  should  be  a  space 
three-eighths  of  an  inch  wide  between  the  edge  of  the  wood  and 
the  outer  edge  of  the  design.     When  the  design  is  grooved  in, 


(\ 


o 


il 


THERMOMETER  BACK — (For  description  see  page  61.) 
62 


WOOD  CONSTRUCTION 


63 


color  it.  Red,  green  and  yellow  are  the  best  colors.  Their  iden- 
tity is  not  lost  in  staining.  Lastly,  stain  and  polish  the  face  of  the 
blocks.     Cut  tlie  felt  the  size  of  the  blocks,  cover  the  back  of  each 


DESIGNS  FOR  PIN  CUSHION 

block  with  glue,  place  the  felt  between  the  two,  and  keep  the 
whole  in  press  for  several  hours.  The  model  here  suggests  two 
designs.  These  are  given  simply  as  illustrations.  Use  the  same 
design  for  both  backs  of  the  cushion. 

8     Picture  Frame 

Material — Rasswood,  sweet  gum,  walnut  or  oak.  One  piece, 
8x6x^  inches,  for  frame;  one  piece,  5^x4x^  inches,  for 
back;  one  piece,  4^x3x^  inches,  for  supports;  two  pieces, 
3^:4x^x^4  inches,  and  one  piece,  5'4x^'8-^/-i  inches  for 
cleats.     Glue.     Half-inch  brads. 


64 


CONSTRUCTION  WORK 


Should  basswood  be  used  it  must  be  stained.  Sweet  gum,  wal- 
nut, or  oak  may  be  left  in  its  natural  state,  and  oiled  to  bring  out 
the  grain  and  finish. 

On  the  8x6xj4-inch  board  mark  ofif  with  a  pencil  a  center  space 
2^x3^  inches  in  size.  With  a  gimlet  bore  holes  at  points  A,  B, 
C,  and  D.  Connect  these  holes  with  a  pencil  line  as  a  guide  for 
cutting.     Along  the  line  make  a  groove  which  may  be  broadened 


, 

^«-*<4'  ^^h=^ 


Tjx.MTi^t'   V'<jt.L<r     Vi^ry^^  fx^  fi_ 


a.                                    » 

jiacii  ir^x^     S%  C 


S-V4" 


/ 


PICTURE  FRAME 


and  deepened  until  the  board  is  cut  through.  By  working  around 
ihe  square  in  this  way,  the  center  will  soon  be  opened.  Trim  the 
wood  as  smoothly  as  possible  with  a  knife;  then  use  sandpaper 
to  level  and  finish  off.  Bevel  the  edge  of  the  opening  if  you  wish. 
Cut  in  half  the  4^x3x^4 -inch  piece  of  wood,  and  make  two 
supports,  as  in  Figure  2.  With  a  pencil  draw  the  shape  of  these 
r.upports  on  the  wood ;  in  whittling  work  very  carefully,  as  they 
are  small  and  will  easily  split.  As  far  as  possible,  hold  the  pieces 
so  that  the  knife  will  shave  with  the  grain  of  the  wood.     In  cross- 


WOOD  CONSTRUCTION 


65 


cut  work  from  the  opposite  side.  In  straight  cut,  keep  notches  at 
opposite  ends,  so  that  if  the  knife  should  shp  and  the  wood  spHt 
no  serious  damage  will  be  done. 

Place  the  cleats  on  the  back  half  an  inch  from  the  opening,  the 
longer  fitting  in  between  the  two  shorter  ones.  Glue  them  on, 
then  nail  them.  Against  these  cleats  glue  the  back  (1)  before 
nailing  it.  Next  glue  and  nail  on  the  two  supports  against  the 
back  and  on  a  level  with  the  lower  edge  (Figure  4).  On  the 
fourth  side,  where  there  is  no  cleat,  is  the  opening  through  which 
the  picture  is  slipped.  When  the  frame  is  satisfactorily  sand- 
papered, oil  and  polish  it. 

9     Japanese  Box 

Problem — To  construct  a  box  having  lid  and  bottom  exend  be- 
yond sides. 

Stock — Basswood:  two  pieces,  each  8y2x3y2xy4.  inches,  for  lid 
and  bottom ;  two  pieces,  each  8x2x^  inches,  for  sides ;  two 
pieces,  each  2^/2x2x^4  inches,  for  ends;  two  pieces,  each 
2y2x}ix%  inches,  for  cleats.  Glue.  Half-inch  brads. 
Stain.     Wax. 


JAPANESE  BOX 


On  the  8j^x3^xj4-inch  pieces  of  wood,  cut  a  bevel  a  quarter 
of  an  inch  wide. 

Place  the  two  ends  between  the  two  sides ;  glue  and  nail.  Set 
this  rectangular  frame  on  the  under  side  of  the  bottom,  equally 
distant  from  each  edge,  and  trace  the  shape  with  a  pencil.  Re- 
move the  frame;  the  pencil  line  indicates  where  the  nails  are  to  be 


66 


CONSTRUCTION  WORK 


driven  to  secure  the  frame  to  the  base.  Now  set  the  frame  on 
the  upper  side  of  the  bottom ;  aim  for  the  same  spacing  as  on  the 
under  side,  and  mark  off.  Carefully  cover  the  lower  edge  of  this 
frame  with  glue,  place  it  on  the  base  and  press  the  two  until  the 
glue  is  dry.     Drive  the  brads  through  from  the  under  side  of  the 


scauji  'b^a-a'-j' 


&ncO!>  S^^^a,^')^^ 


.    t(/n.TLcA/i^cCL    <rl  JLcci,    S'lix-'^^C   ct^o^. 


^y\ 


base  an  eighth  of  an  inch  within  the  guiding  line.  Having  bev- 
eled and  sandpapered  the  lid,  trace  a  design  on  it,  and  outline  this 
design  by  grooving. 

Nail  the  Zy^x^ix^i-'mch  cleats  to  the  under  side  of  the  lid, 
five-eighths  or  an  inch  from  each  end  anfl  half  an  inch  from  each 
side.     These  cleats  fit  into  the  box  and  hold  the  lid  on. 

Stain,  wax,  and  polish  the  box. 

10     Grandfather's  Chair 

Material — Basswood :    three    pieces    5x2x^    inches ;    one    piece 
2x2x^  inches.     Brads.     Sandpaper.     Glue.     Stain  or  oil. 


WOOD  CONSTRUCTION 


67 


\       "5(^ 

:r-\ 

«-;■'-> 

GRANDFATHERS  CHAIR 

Measure  and  lay  off  as  you  have  done  in  making  the  other 
small  pieces  of  wood  work.  Handle  the  knife  most  cautiously, 
as  the  wood  is  so  thin  that  it  is  easily  split.  When  all  parts  are 
cut  out  and  well  sandpapered  glue  them  together  and  secure  them 
by  driving  in  the  brads  about  an  inch  apart  along  the  line  of  the 
seat  and  where  the  arms  join  the  back.  Stain  or  oil  as  most  con- 
venient, or  as  taste  dictates. 


PART  IV 
BASKETRY 


BASKETRY 

Introductory  Remarks 

The  art  of  basket-making  is  a  primitive  one,  and  so  simple  that 
it  appears  to  have  been  known  among  the  rudest  people  and  in 
very  early  ages. 

When  Moses  was  found  by  Pharaoh's  daughter,  he  was  lying 
in  a  basket  which  had  been  woven  by  his  mother. 

Later,  when  the  Israelites  were  returning  to  the  Promised 
Land,  they  were  commanded  to  offer  unto  the  Lord  "the  first  of 
all  the  fruits  of  the  earth"  in  a  basket,  as  soon  as  Canaan  became 
their  possession.  The  baskets  of  the  rich  of  these  ancient  Israel- 
ites were  made  of  gold  and  silver,  and  so  valuable  were  they  that 
when  a  gift  was  sent  in  one  of  them  the  basket  was  always 
returned. 

The  ancient  Britons  were  remarkably  expert  in  the  manufac- 
ture of  baskets,  which  were  so  beautifully  made  that  they  were 
highly  prized  by  the  Romans. 

Our  own  American  Indians  were,  and  still  are.  such  adepts  in 
the  art  of  basket-making  that,  for  beauty  and  artistic  eft"ect,  their 
baskets  are  excelled  by  none. 

The  perfection  attained  in  this  art  by  the  uncivilized  is  mar- 
velous. Adapting  the  materials  about  them  to  Uieir  use.  they 
produce  masterpieces  which  the  civilized  man  beholds  in  wonder 
and  amazement. 

Though  handed  down  to  us  through  many  ages,  this  ancient 
occupation  has  never  lost  its  fascination.  The  adult  and  the 
child  of  to-day  are  as  eager  to  learn  its  secrets  as  were  those 
dwellers  on  the  banks  of  the  Nile,  hundreds  of  years  ago. 

As  a  plastic  art  it  lies  between  paper  construction  and  clay  mod- 
eling on  one  side,  and  wood  and  iron  work  on  the  other. 

A  keen  interest  in  the  art  may  be  awakened  by  arousing  in  the 
child  a  desire  for  a  basket  for  some  practical  purpose.  In  the 
autumn,  the  collecting  of  seeds   for  next  spring's  planting,  the 

71 


72 


CONSTRUCTION  WORK 


gathering  of  nuts,  the  need  for  something  in  which  to  lake  the 
lunch  to  school,  or,  perhaps,  a  wish  to  make  a  pleasing  gift  for 
the  coming  Christmas,  will  immediately  suggest  its  utility. 

Of  wdiat  shall  the  basket  be  made?  Children  enjoy  those  things 
most  which  they  feel  that  they  have  exerted  themselves  to  obtain ; 
and  the  greater  the  effort  involved,  the  greater  the  educational 


BASKETRY  73 


value.  Every  child  should  be  trained  to  keep  his  eves  open  and 
to  adapt  to  his  use  the  things  he  sees  about  him.  Alaterials  for 
baskets  may  be  obtained  in  just  this  way.  City  children  may 
take  a  trip  to  the  country  and  gather  the  long  grasses  found  in 
swamps  and  low  places.  Perhaps  in  the  garden  at  home  there  is 
a  clump  of  yucca ;  when  the  fall  comes  and  the  bloom  is  gone 
the  leaves  or  blades  may  be  cut,  dried  and  stripped,  and  trans- 
formed into  an  attractive  basket  or  tray.  Again,  the  husks  which 
are  stripped  from  the  corn  cooked  for  dinner  may  be  torn  into 
narrow  ribbons  and  dried  for  use.  Corn  husks  make  a  beautiful 
basket,  for  the  different  shades  of  green  change,  after  the  husks 
have  dried,  to  as  many  shades  of  brown,  which  blend  most  artis- 
tically when  worked  up.  The  little  children  of  the  South  may 
gather  the  long  needles  that  fall  from  the  southern  pine,  and  com- 
bine them  with  raffia  or  twine  to  construct  a  basket.  Country 
children  have  a  most  adaptable  and  convenient  commodity  in  the 
tough,  flexible  willows  found  on  the  banks  of  almost  every 
stream. 

The  material  most  commonly  used  and  easiest  to  begin  with, 
however,  is  reed,  which  is  pliable,  and  readily  handled  and 
moulded  into  simple  forms  by  even  small  children.  It  is  avail- 
able when  other  materials  are  not  to  be  had,  for  it  may  be  pur- 
chased with  the  school  supplies. 

Reed  is  the  core  or  central  part  of  the  climbing  calamus,  a  spe- 
cies of  palm  found  in  the  jungles  of  Borneo  and  adjacent  South 
Sea  islands.  The  outside  of  the  raw  calamus  is  smooth  and  is 
made  into  commercial  cane  used  for  chairs.  The  shavings,  made 
by  the  machine  which  separates  the  cane  from  the  core  or  inner 
reed,  are  utilized  for  mats,  polishing  material,  and  stuffing  for 
mattresses  and  furniture.  Thus  every  part  of  the  raw  material  is 
brought  into  use. 

Originally  the  calamus  grew  in  a  limited  area  and  was  difficult 
to  obtain.  Only  the  natives  could  gather  it,  as  the  white  man 
contracted  the  jungle  fever  as  soon  as  he  subjected  himself  to 
the  climate  in  which  it  grew.  But  within  the  last  fifty  or  seventy- 
five  years  enterprising  men  have  begun  the  cultivation  of  the  rat- 
tan palm,  and  have  met  with  so  much  success  that  now  there  are 
a  number  of  factories  in  the  United  States  making  the  reed  and 
rattan  of  commerce,  while  Gennany  and  Belgium  export  to  us  the 
best  reed  that  is  used. 


74 


CONSTRUCTION  WORK 


The  teacher  should  never  begin  the  use  of  any  new  material  for 
construction  without  having  made  the  child  familiar  with  its  his- 
tory ;  nor  should  a  finished  article  be  laid  aside  until  the  pupil 


REED  BASKETS 

has  given  the  teacher  a  description  of  how  it  is  made,  and  of  what 
it  is  made.  If  this  method  is  carried  out  the  child  will  show  a 
greater  appreciation  of  what  he  is  doing,  will  value  the  finished 
article  more  highly,  and  will  place  a  premium  on  the  raw  material. 
Overlook  the  pupils  in  their  work,  but  grant  them  the  privilege 
of  adjusting  size  and   shape,   and  of  selecting  material   for  the 


BASKETRY  75 


requirements  of  the  design  they  have  in  mind.  By  achieving 
what  he  can  for  himself,  the  pupil  attains  a  realization  of  his  own 
power,  and  the  logic  of  size,  shape,  material,  etc.,  is  awakened. 

REED  CONSTRUCTION 

In  construction,  the  first  thing  to  teach  a  child  is  how  to  handle 
the  material.  To  do  this,  use  small  cjuantities  and  attempt  only 
simple  articles.  Reed  is  the  simplest  thing  to  begin  with,  and  tlie 
easiest  of  all  basket-work  models  is  the  napkin  ring.  Soak  all  the 
reed  and  dry  it  with  a  cloth  before  using. 

1     Napkin  Ring  No.  I 
Problem — To  construct  a  napkin  ring  of  reed. 
Material — No.  2  reed,  7  feet. 

Take  one  end  of  the  reed  and  form  a  loop  two  inches  in  diam- 
eter, and  wind  the  reed  three  times  to  form  the  ring.  Hold  it  in 
the  left  hand.  Pass  the  loose  end  over  the  curve  and  through  the 
circle.     Pull  it  taut  enousjh  to  make  it  lie  in  a  natural  curve.     Re- 


Ko.  I 

REED  NAPKIN  RINGS 

peat  this  movement — over  and  over,  round  and  round — allowing 
the  strands  always  to  follow  the  valley  between  the  two  former 
laps.  When  the  foundation  is  covered,  clip  the  end  where  it  fin- 
ishes up,  press  it  into  place  in  the  groove,  drop  a  little  glue  over 
the  point  at  which  it  is  pressed  in.  and  bind  the  ring  with  a  string 
to  hold  the  end  in  position.  When  the  glue  has  dried,  remove 
the  string. 

When  the  napkin  ring  has  been  made,  the  child  has  learned  the 
principle  involved  in  constructing  a  basket  handle. 


76 


CONSTRUCTION  WORK 


2     Napkin  Ring  No.  II 

Problem — To  construct  a  napkin  ring  of  No.  5  reed.     (See  page 

75.) 
Material~Xo.  5  reed,  2>^  feet. 

In  using  No.  5  reed,  form  the  loop  two  inches  in  diameter,  but 
have  the  ring  of  only  one  thickness,  and  proceed  as  in  ring  No.  1. 
This  will  make  a  napkin  ring  of  different  appearance  because 
the  windings  are  fewer  and  the  reed  thicker. 

3     Mat 
Problem — To  construct  a  simple  mat  of  reed. 
Material — No.  4  reed :  eight  spokes,  9  inches  long ;  one  spoke,  6 
inches  long.     Weavers  of  No.  2  reed. 


Figure  1  Figure  2 

TO  START  A  REED  MAT  OR  SIMPLE  BASKET 

Place  together,  at  right  angles,  two  groups  of  four  spokes  of 
No.  4  reed.  To  the  under  group  add  the  six-inch  spoke  of  No. 
4  reed  (Figure  1).  Hold  the  spokes  firmly  in  the  left  hand.  Take 
the  No.  2  weaver  and  insert  it  under  the  thumb.  Wind  the 
weaver  diagonally  over  the  crossing  point  in  both  directions  (Fig- 
ure 2).  Then  wind  the  weaver  over  and  under  alternate  groups 
of  spokes,  three  times  around.  Hold  both  spokes  and  weaver 
firmly  in  place  with  the  left  hand.  Separate  into  single  spokes 
now  and  continue  weaving  until  your  mat  is  four  inches  in 
diameter.     Fasten  the  end  of  the  weaver  by  tucking  it  down 


BASKETRY 


77 


beside  a  rib.  The  projecting  ribs  are  trimmed  to  an  even  length 
and  pointed.  Take  any  given  spoke,  as  Xo.  1,  bend  it  to  the  left 
in  front  of  Xo.  2  and  insert  it  on  the  right  side  of  Xo.  3.  X'o.  2 
is  now  taken  and  carried  to  the  left  over  Xo.  3  and  inserted  to 
the  right  of  X^o.  4.     Proceed  thus  until   all  the  spokes  are  in- 


REED  MAT 

serted,  when  the  mat  is  finished.  The  scallops  should  form  a 
semicircle. 

For  a  larger  mat.  take  ten  spokes,  sixteen  inches  long,  of  Xo. 
4  reed,  and  one  spoke  nine  inches  long  of  the  same.  Use  Xo.  1 
reed  for  the  weaver  and  proceed  as  in  making  the  smaller  mat. 

To  add  a  new  weaver,  place  the  end  about  two  spokes  back  of 
where  the  former  weaver  ended  and  parallel  with  it. 

4     Hamper  Basket 
Problem — To  construct  a  simple  reed  basket. 

Material — X^o.  4  reed:  eight  spokes  16  inches  long:  one  spoke  9 
inches  long.     Weavers  of  Xo.  1  reed. 

Begin  the  basket  exactly  as  the  mat  was  begun.  Weave  until 
the  bottom  is  three  inches,  or  three  and  a  half  inches  in  diameter. 
Then  bend  the  spokes  at  right  angles  with  the  base,  drawing  the 
weaver  tight  so  as  to  hold  the  spokes  in  position  and  keep  them 
separated  at  an  equal  distance.  Continue  weaving  until  the  bas- 
ket is  three  inches  hieh.  or  until  about  one  and  a  half  inches  of 


78 


CONSTRUCTION  WORK 


spokes  is  left  for  the  border.  Finish  the  edge  by  turning  do\v'n 
the  spokes  as  in  the  edge  of  the  mat,  or  bend  them  down  flat  with 
the  edge  of  the  basket.  Take  any  spoke,  as  No.  1,  bring  from 
right  to  left  over  No.  2,  then  No.  2  over  No.  3,  and  so  on  until 
the  ends  of  all  the  spokes  are  turned  to  the  inside  of  the  basket. 
Keep   both   basket   and   weaver   well    dampened   while   weaving. 


HAMPER  BASKF.T 

After  the  basket  is  finished  press  it  into  shape  while  still  damp. 
When  it  is  thoroughly  dry  trim  ofif  the  ends  of  the  spokes  which 
appear  too  long  on  the  inside  of  the  basket,  leaving  them  just  long 
enough  to  be  held  in  place  by  the  curved  spoke  under  which  each 
passes.     This  makes  a  beautiful  hamper  basket. 

A  handle  mav  be  added  to  this  little  basket,  but  it  is  not  advis- 
able to  encourage  a  child  to  add  a  handle  until  he  has  made  his 
third  basket  or  has  shown  in  some  way  proficiency  in  what  has 
been  taught  so  far. 

To  add  a  handle.  Take  a  length  of  reed,  of  the  same  numbi^*r 
as  the  spokes,  for  the  handle  bow.     For  a  small-sized  basket  take 


BASKETRY  79 


ten  inches.  Insert  one  end  down  through  the  weaving  beside 
one  of  the  spokes.  Bend  the  bow  into  the  shape  you  wish  for 
the  handle  and  insert  the  other  end  of  the  bow  beside  a  spoke  on 
the  opposite  side  of  the  basket,  being  careful  that  the  two  spaces 
between  the  two  ends  of  the  handle  are  equal.  The  handle  should 
be  about  as  high  above  the  border  as  the  border  is  above  the  bot- 
tom of  the  basket.  The  width  of  the  handle  should  be  a  littie 
less  than  the  width  of  the  basket  at  the  top. 

You  are  now  ready  to  cover  the  handle.  Take  a  long  weaver ; 
push  one  end  of  it  through  the  wale  under  the  second  row.  Hold 
the  end  in  place  and  wrap  the  weaver  about  the  handle  bow, 
keeping  the  spaces  about  equal,  and  drawing  taut  enough  to  be 
graceful,  until  it  reaches  the  opposite  side.  Then  draw  the  weaver 
through  the  wale  and  under  the  second  row  and  up  on  that  side ; 
next  wind  about  the  handle  bow  again,  back  to  the  starting-point. 
Push  the  weaver  through  the  wale,  under  the  second  row  and 
out  again,  and  once  more  wind  across  the  handle  bow.  Repeat 
this  operation  from  side  to  side  until  the  handle  bow  is  covered. 
Keep  each  row  of  winder  close  to  the  preceding  one  and  parallel 
to  it.  When  the  bow  is  covered,  tuck  the  end  of  the  weaver 
through  the  wale  and  under  the  second  row  and  clip  the  end. 
leaving  it  just  long  enough  to  stay  in  place.  The  handle  bow 
needs  to  be  damp  enough  to  be  flexible,  but  unless  the  winding 
weaver  is  well  soaked  it  will  crack  and  make  trouble. 

5     Basket  Tray 

Problem — To  construct  a  reed  basket  or  tray,  having  an  even 
number  of  spokes,  and  using  same  number   reed   for   both 
spokes  and  weaver. 
Material — Sixteen  spokes,  each  11  inches  long,  of  No.  3  or  No.  4 
reed.     Weaver  of  reed  of  same  number  as  spokes. 
Separate  the  spokes  into  groups  of  four.     Place  set  No.  1  on 
?nd  at  right  angles  to  set  No.  2.     Sets  3  and  4  are  laid  diagonally 
across  sets  1  and  2. 

Hold  the  spokes  firmly,  attach  the  weaver  and  go  in  and  out 
four  times  round,  over  and  under  the  same  set  of  spokes  each 
time.  At  the  end  of  the  fourth  round,  pass  the  weaver  over  two 
sets  of  spokes  and  weave  four  rows.  Next  separate  the  spokes 
into  sets  of  two  and  weave  one  row ;  now  each  time  that  the 


80 


CONSTRUCTION  WORK 


weaver  comes  to  starting-point  in  the  circle,  pass  it  over  two  sets 
of  spokes  instead  of  one,  and  then  weave  the  next  round.  When 
you  have  been  around  seven  times  using  double  spokes,  bend  the 
spokes  up  for  sides  and  weave  two  more  rows  over  double  spokes. 


HOW  TO  BEGIN  THE  BASKET  TRAY 

Then  separate  into  single  spokes  and  weave  six  rows,  remember- 
ing each  time  to  pass  the  weaver  at  the  end  of  a  new  round  over 
two  spokes  instead  of  one,  so  as  to  have  them  properly  alternated. 
Trim  the  ends  of  the  spokes  to  an  equal  length  and  start  the  bor- 
der by  bending  any  given  spoke  to  the  right  and  inside  the  tray, 
holding  it  in  place.     Continue  with  each  succeeding  one  until  all 


BASKETRY 


81 


the  spokes  have  been  bent  into  position.  These  spokes  being 
bent  so  closely  and  consecutively  over  each  other,  form  a  coil  re- 
sembling the  handle  of  a  basket.  The  points  of  the  spokes  are 
pushed  under  the  coil,  through  from  the  inside  to  the  outside  of 


REED  BASKET  TRAY 

the  basket.  Keep  a  vessel  of  water  at  hand  and  wet  the  material 
constantly  as  you  weave.  When  the  tray  is  finished,  press  it  into 
shape  and  set  aside  to  dry.  When  it  is  well  dried,  clip  oft'  the 
projecting  ends. 

6     Basket  with  Handle 

Problem — To  construct  a  basket  using  an  uneven  number  of 
spokes,  spokes  and  weaver  the  same  number  reed ;  and  to  add 
a  handle. 

Material — No.  3  reed :  eight  stakes,  each  20  inches  long ;  one  stake 
11  inches  long.    Weavers  of  No.  3  reed. 

Make  two  groups  of  four  each  of  the  twenty-inch  stakes.  Place 
one  set  at  right  angles  across  the  other,  and  beside  the  under  set 
insert  the  eleven-inch  spoke.  Hold  the  spokes  firmly  between  the 
thumb  and  the  forefinger  of  the  left  hand,  and  with  the  weaver 
in  the  right  hand  place  the  starting  end  under  the  edge  of  the 


82 


CONSTRUCTION  WORK 


upper  set;  bring  it  around  and  over  set  No.  1,  under  No.  2,  over 
No.  3,  under  No.  4,  and  repeat  this  operation  four  times.  Now 
separate  the  spokes  into  groups  of  eight  twos  and  one  single,  and 
weave  four  rounds.  Next  cut  seventeen  eleven-inch  stakes  and 
push  one  in  beside  each  stake  already  used.  Divide  them  into 
seventeen  pairs.     Weave  round  and  round  until  you  have  a  base 


REED  BASKET  WITH  HANDLE 

three  and  one-half  inches  in  diameter.  Being  sure  that  the  weaver 
is  damp  and  pliable,  with  fingers,  or  "pliers,"  bend  up  the  stakes 
close  to  the  weaving,  at  right  angles  with  the  base,  and  continue 
weaving  until  the  basket  is  four  inches  deep.  Then  trim  the 
stakes,  if  necessary,  to  uniform  length  and  bend  them  over  to 
form  the  border.  Take  any  stake,  as  No.  1,  and  work  from  right 
to  left.  Bend  down  No.  1,  pass  under  No.  2  and  over  No.  3. 
Then  take  No.  2,  pass  under  No.  3  and  over  No.  4.     Continue 


BASKETRY  83 


until  every  pair  of  stakes  has  been  turned  down  and  worked  into 
the  border.  All  ends  must  come  inside  the  basket;  after  it  is  dry, 
trim  them  off.  You  will  find  that  in  working  with  the  wet  reed 
your  basket  may  seem  not  to  have  the  proper  shape.  Soak  it  well 
and  you  will  be  able  to  mould  as  you  wish  it.     Add  a  handle. 

This  basket  is  made  almost  exactly  like  the  little  hamper  basket 
previously  described,  except  that  in  this  one,  we  use  double  stakes, 
while  in  that  one,  single  stakes  were  used ;  the  sides  of  this  one 
are  vertical,  those  of  that  one  slightly  curved. 

In  passing  from  the  reed  basket,  the  next  step  would  be  the 
raffia  and  then  the  combination  of  reed  and  raffia,  which  is  worked 
out  in  all  forms  of  Indian  basketry.  The  most  common  stitch  is 
known  as  the  "lazy  squaw,"  and  is  made  by  winding  the  raffia 
round  the  reed  one,  two,  or  three  times,  as  space  is  desired ;  and 
then  the  needle  is  taken  through  the  row  below  to  make  the 
stitch.  Each  stitch  is  a  repetition  of  the  one  before  and  the  mat, 
tray  or  basket  grows  with  the  effort.  There  are  innumerable  op- 
portunities for  design  in  Indian  basketry,  and  it  is  here  that  the 
work  of  an  artist  may  be  realized  and  recognized. 

RAFFIA  CONSTRUCTION 

We  may  correlate  and  combine  raffia  with  reed  in  construction. 
The  two  materials  may  be  worked  together  to  great  advantage 
and  interest  to  the  child.  For  instance,  when  a  napkin  ring  has 
been  made  of  reed  let  the  child  next  construct  one  of  raffia,  and 
then  compare  the  finished  article  as  to  the  material  used,  the 
beauty,  the  flexibility,  the  durability,  and  the  nativity  of  each. 

As  in  the  case  of  reed,  so  with  raffia  before  constructing  with 
it,  pass  a  piece  to  each  child  and  give  the  life  history  of  the  plant. 
Madagascar  may  be  a  name  only  to  the  small  child,  but  the  very 
vagueness  of  his  knowledge  concerning  it  may  cause  him  to  realize 
the  di.stance  of  the  island  from  us  and  appreciate  that  this  simple 
material  with  which  he  is  working  has  traveled  thousands  of 
miles  to  bring  him  a  storv  and  an  occupation. 

Raffia,  a  native  of  the  South  Sea  Islands  and  of  Madagascar, 
is  the  inner  bark  of  the  raphia  palm,  pulled  off,  torn  into  narrow 
strips,  dried  in  the  sun,  and  bound  into  bunches,  which  are  plaited 
together  and  stored  ready  for  use  or  shipping. 

We  receive  the  raffia  in  its  natural  state,  but  many  colors  mav 


84  CONSTRUCTION  WORK 

easily  be  had  by  dyeing.  In  Practical  Basket  Making,  by  George 
Wharton  James,  some  valuable  suggestions  on  dyeing  are  given ; 
but  the  small  quantity  of  raffia  a  teacher  will  need  may  be  dyed 
with  very  little  trouble  with  the  "Easy  Dyes"  manufactured  by 
the  American  Color  Company.  Follow  directions  and  the  results 
will  be  most  satisfactory.  Be  very  careful  to  have  the  dyes 
strong  enough,  as  raffia  absorbs  an  enormous  amount  of  coloring. 
All  raffia  should  be  washed  before  dyeing ;  it  should  be  well  dried 
before  being  put  into  the  dye  pot,  since  it  takes  the  color  better 
when  dry. 

If  you  have  pupils  old  enough,  or  a  class  on  which  you  can  rely, 
nothing  will  delight  them  more  than  to  do  their  own  dyeing.  A 
fourth-grade  class  in  one  of  the  Baltimore  schools  has  success- 
fully dyed  all  the  raffia,  cord,  cotton,  and  textiles  used  in  their 
classroom.  The  child  dearly  loves  color;  the  possibility  of  having 
different  shades  to  work  with  will  arouse  an  intense  interest  in 
procuring  these  colors.  It  will  be  unusual  if  the  pupils  do  not 
handle  with  care  the  materials  and  the  dye  pot. 

In  adapting  a  commodity  to  circumstances  in  this  way,  the 
broader  knowledge  of  how  the  colors  in  clothing  are  obtained  will 
develop  and  there  will  be  created  in  the  child  a  new  idea  of  life 
and  of  man's  work. 

The  natural  color  of  the  raffia  is  much  improved  by  washing; 
therefore,  before  using  it  loosen  it  and  soak  it  in  clean  water  so 
that  all  dust  and  dirt  may  be  removed  and  the  strips  or  strings 
straightened  out ;  then  hang  it  in  the  air  until  thoroughly  dry. 

Before  offering  any  models  of  the  combined  reed  and  raffia,  we 
shall  give  a  few  of  raffia  alone,  as  we  did  of  the  reed. 

^  7     Plaited  Rope 

Problem — To  teach  different  ways  in  which  the  plaited  rope  of 

raffia  may  be  applied. 
Materia! — Raffia. 

Begin  the  use  of  raffia  by  teaching  the  child  the  three-strand 
plait,  adding  a  new  thread  from  time  to  time,  until  a  long  rope 
is  made.  Next  teach  how  to  coil  this  rope  into  a  mat,  a  purse,  a 
basket,  or  a  hat. 

In  plaiting,  keep  the  raffia  damp  and  use  strands  of  equal  size. 
Dampness  adds  gloss  and  smoothness  to  the  finished  article. 


BASKETRY 


85 


THREE-STRAND  PLAIT 

In  the  construction  of  articles  of  plaited  rafifia  an  opportunity 
opens  up  to  bring  the  child's  inventive  ingenuity  into  play.  Get 
him  to  think  of  something  he  might  make,  and  to  construct  it 
roughly  of  paper.  With  his  model  as  a  guide  for  shape  and  size, 
he  can  easily  reproduce  it  in  rafifia.  The  first  pattern  may  be 
crude,  but  each  repetition  will  produce  a  better  one.  and  interest 
will  lend  enchantment,  until  both  pattern  and  reproduction  will 
be  most  creditable. 

8     Plaited  Mat 

Problem — To  construct  a  mat  of  plaited  raffia  rope. 
Material — Raffia. 


/hji   Tiutt(n^ 


MAT  OF  PLAITED  BRAID 

The  starting-point  in  all  these  designs  is  the  little  round  coil, 
called  the  button. 

To  make  a  mat,  first  plait  a  rope  several  feet  long.  To  form 
the  button  hold  the  end  of  the  rope  between  thumb  and  fore- 
finger, and  begin  to  roll  the  rope  just  as  a  watch  spring  is  coiled. 
With  a  needle  and  fine  thread  of  raffia,  make  the  button  firm; 


86  CONSTRUCTION  WORK 


then  keep  on  coiling  around  the  hutton  and,  as  each  row  is  added, 
tack  it  to  the  preceding  row  by  pushing  the  needle  in  and  out  at 
right  angles  with  the  braid,  so  that  the  stitch  may  be  invisible. 
"When  finished  the  mat  should  be  about  four  inches  in  diameter. 
The  object  of  winding  the  plait  sideways  is  to  give  the  mat  firm- 
ness and  thickness. 

9     Purse 

Problem — To  construct   a  purse  or   bag  of  plaited   rafiia   rope. 

(See  page  87.) 
Material — Rafiia. 

To  make  a  purse,  plait  enough  rope  to  make  two  mats  three 
and  a  half  inches  in  diameter.  To  construct  these  mats  first  make 
the  button.  Work  this  time  with  the  braid  flat.  Sew  by  holding 
the  mner  edge  of  the  plait  just  under  the  outer  edge  of  the  pre- 
ceding row.  When  both  mats  are  finished,  place  them  flat  against 
each  other,  and  overseam  or  buttonhole  the  edges  together  for 
about  two-thirds  of  the  circumference.  Plait  a  rope,  seven  inches 
long,  for  a  handle.  Tie  a  knot  in  each  end,  and  ravel  the  ends  of 
raffia  to  form  a  tassel.  Attach  this  handle  to  the  purse  at  each 
side,  where  the  opening  begins.  Girls  especially  delight  in  this  lit- 
tle purse  or  bag. 

10    Plaited  Basket 

Problem — To  sew  braid  together  to  form  one  angle.      (See  page 

88.) 
Material — Raffia. 

Dimensions — Bottom  three  inches  in  diameter;  sides  two  inches 
high ;  handle  six  inches  long  and  two  braids  wide. 

Using  three  threads  of  raffia,  plait  a  rope  several  feet  long. 
Proceed  just  as  with  purse,  and  sew  until  you  have  a  mat  three 
inches  in  diameter.  Now  place  the  braid  at  right  angles  with  the 
base,  and  sew  round  and  round  to  form  the  sides.  When  these 
are  two  inches  high  fasten  the  braid ;  and,  without  cutting  it,  carry 
it  to  the  opposite  side  to  form  the  handle.  Fasten  it  there  and 
bring  it  back  again,  to  make  the  handle  two  braids  wide.  Either 
overseam  these  together  to  make  a  broad  handle,  or  leave  them 
separated  to  form  a  double  handle. 

An  easy  way  to  obtain  a  more  uniform  shape  in  constructing 


BASKETRY 


87 


PURSE  OR  BAG  OF  PLAITED  RAFFIA— (For  description  see  page  86.) 


this  basket  is  to  have  a  smooth  tumbler  or  a  tin  box.  and,  as  yon 
work,  fit  the  material  to  the  form.  When  it  is  finished,  dampen 
it  and  let  it  remain  on  the  form  until  it  dries. 


88 


CONSTRUCTION  WORK 


BASKET  OF  PLAITED  RAFFIA— (For  description  see  page  86.) 

^  11     Hat  of  Plaited  Rope 

Problem — To  sew  the  braid  together  to  form  two  angles. 
Material — Raffia. 


HAT  OF  PLAITED  RAFFIA 


First  plait  the  raffia  together  until  you  have  a  very  long  braid. 
Take  the  starting  end,  make  the  button,  and  sew  round  and  round, 
as  in  making  the  purse.  When  the  top  of  the  crown  is  as 
large  as  you  wish  it,  turn  the  braid  at  right  angles  and  form  the 


BASKETRY  89 

sides.  When,  in  yonr  judgnient,  the  crown  is  high  enough,  make 
a  second  right  angle  to  form  the  brim,  which  may  be  wide  or  nar- 
row as  taste  dictates.  Use  a  blunt  needle  (Smith's  tapestry, 
No.  18). 

12  Napkin   Ring 

Problem — To  construct  a  raffia  napkin  ring. 

Material — Raffia.  A  piece  of  tag-board  1 3/2  or  2  inches  wide 
and  6  inches  long.  Quarter-inch  ribbon  or  strip  of  paper,  or 
raffia  of  a  contrasting  color. 

There  is  mentioned  a  raffia  napkin  ring  in  comparison  with  the 
one  of  reed. 

Take  the  strip  of  tag-board,  fasten  the  ends  together  and  wrap 
with  raffia  until  the  board  is  covered. 

It  may  be  ornamented  with  a  narrow  strip  of  ribbon,  paper  or 
colored  raffia  woven  around  the  center.  If  ribbon  or  raffia  is  used 
tie  the  ends  in  a  bow.    If  paper  is  used  the  ends  must  be  glued. 

13  Indian  Basket 

P'^oblcm — To  teach  construction  with  twisted  raffia  rope.  (See 
page  91.) 

Materia! — Two  contrasting  colors  of  raffia. 

First  think  of  what  shape  and  size  you  would  like  a  basket; 
then  roughly  sketch  a  design,  in  order  that  an  idea  of  shape,  size, 
and  proportion  may  be  had.  Keep  the  design  before  you  and 
work  as  closely  from  it  as  possible. 

Take  three  thick  strands  of  raffia  and  twist  them  into  a  rope. 
In  starting  have  the  threads  unequal  in  length,  as  it  is  much  neater 
to  add  one  new  thread  at  a  time  than  two  or  three.  Keep  the 
rope  of  the  same  thickness  throughout,  and  as  each  thread  is  used 
up,  insert  another  overlapping  the  old  one  two  or  three  inches. 
Around  this  rope,  and  twisted  in  the  same  way,  w^rap  a  contrast- 
ing color  of  raffia,  aiming  to  have  the  spaces  equal  and  using 
threads  of  the  same  size.  Having  twisted  and  wound  four  or 
five  inches  start  the  basket  by  forming  a  button,  then,  holding 
the  button  firmly  with  the  left  hand,  coil  the  rope  round  and 
round  and  sew  it.  l^se  the  sharp-pointed  needle  and  join  the 
coils  in  such  a  wav  that  the  threads  will  coincide  with  the  twist. 


90 


CONSTRUCTION  WORK 


When  the  basket  is  finished,  the  opening  at  the  top  should  be 
Xs^  either  greater  or  less  in  diameter  than  the  base.     Make  a  lid  ex- 
actly as  the  base  is  made,  and  have  it  just  a  shade  wider  than 
the  opening  so  that  it  will  be  supported.     The  ring  with  which  to 


INDIAN  BASKETS 


lift  the  lid  is  made  by  wrapping  raffia  three  or  four  times  over 
the  finger,  and  then  buttonholing  it  over.  Sew  the  ring  to  the 
middle  of  the  lid  and  attach  the  lid  to  the  basket. 

The  model  here  given  is  made  of  white  raffia  twisted  with  red. 
Diameter  of  base,  4  inches ;  height,  2]/^  inches ;  opening  at  top, 
Zyy  inches;  diameter  of  lid,  3->4  inches. 


BASKETRY 


91 


IXDL\.X  BASKET—  For  description  see  pages  89  and  90.) 


14     Grass  Basket  or  Tray 

Problem — To  teach  how  to  construct  a  basket  of  grass,  pine  nee- 
dles, or  corn  husks. 
Materiai — Narrow-blade  marsh  or  sweet  grass.     Raffia  for  sew- 
ing. 

]\Iake  a  design  in  pencil,  ink,  or  colored  crayon. 

Here  the  adaptability  of  material  gathered  about  the  home  is 
illustrated.  The  tall,  fine  marsh  grasses  may  be  collected,  spread 
out  for  three  or  four  days  where  they  will  dry,  and  then  utilized. 
You  will  find  that  almost  every  blade  of  this  grass  varies  in  color. 
The  root  end  may  be  brown,  while  toward  the  tip  the  leaf  shades 
into  a  light  green,  or  white,  or  vice  versa;  this  blending,  when 
the  grass  is  bunched,  is  most  artistic. 

Bunch  a  sufficient  number  of  blades  to  make  a  coil  a  half  or 
three-quarters  of  an  inch  in  diameter.  Do  not  twist.  Never 
allow  the  coil  to  lessen  in  size.  Keep  adding  fresh  strands  by 
slipping  the  root  ends  of  the  new  blades  up  between  those  already 


92 


CONSTRUCTION  WORK 


BEGINNING  OF  BASKET  TRAY 


in  the  coil.  When  we  begin  to  sew  we  do  not  wrap  the  grasses 
as  we  wrapped  the  strands  of  raffia,  but  simply  use  as  a  sewing 
thread  raffia  of  a  contrasting  or  blending  color.  To  form  the 
button,  wrap  the  threads  three  or  four  times  around  the  root  ends 
of  the  bunch,  fasten  tightly,  then  coil  to  form  the  center.  Take 
the  needle  through  the  center  and  over  the  coil  as  many  times 
as  you  think  necessary  to  make  the  button  firm.  These  stitches 
are  the  beginning  of  the  spiral  rays  which  radiate  to  the  edge  of 
the  basket.  Take. the  stitches  at  equal  distances  from  each  other. 
Handle  the  needle  so  as  to  pass  from  back  to  front,  and  always 
have  the  new  stitch  pass  through  the  stitch  of  the  coil  just  below 
it  from  right  to  left.  When  the  coil  has  been  wound  around  four 
or  five  times,  the  stitches  will  be  seen  to  interlock  and  form  a 
spiral.  Soon  the  spaces  will  become  too  wide ;  then  take  an  extra 
stitch  in  the  center  of  each  space,  thus  adding  another  set  of  rays. 
Continue  adding  new  sets  of  rays  as  the  spaces  widen,  until  the 
basket  is  finished. 

When  the  base  has  grown  to  the  required  size,  turn  up  for  sides 
and  continue  sewing  in  the  same  way  until  the  necessary  depth 
is  obtained.  To  give  a  finish  add  enough  grass  to  make  a  thick 
coil  around  the  edge. 

Colored  hemp  may  be  woven  in  with  the  grass  either  as  a  lining 
or  so  inserted  as  to  make  a  beautiful  pattern.     The  value  of  the 


BASKETRY 


93 


basket  will  be  enhanced  by  the  use  of  sweetgrass,  if  this  material 
is  obtamable. 

The  model  given  is  made  of  marsh  grass,  sewed  with  rafifia  of 
natural  color,  and  the  design  is  made  in  pink  hemp.  Its  base  is 
rive  inches  in  diameter;  its  dej^th  one  and  one-fourth  inches. 

Corn  husks  may  be  used  instead  of  grasses,  and  are  unexcelled 
for  beauty  and  artistic  effect.     Use  the  inner  husk  from  the  ear 


BASKET  TRAY 

when  green ;  though  the  husks  will  dry,  the  varied  color  will  not 
be  lost.  When  made  up  with  a  contrasting  color  of  green  or 
golden  brown  rafifia  they  are  most  attractive.  Grasses  may  be 
kept  a  long  time ;  but  before  using  them  soak  them  thoroughly, 
and  let  them  dry  out.  This  treatment  will  make  them  so  pliable 
that  they  may  be  handled  as  easily  as  though  freshly  gathered. 
The  long  needles  of  the  southern  pine  also  are  thus  worked  up. 

15     Basket  of  Splints  and  Raffta 
Problem — To  teach  construction,  using  splints  and  raffia. 
Material — Splints  of  ash    or    flat    reed :    eighteen    splints,    each 

54x12  inches;  3  splints,  each  /4xl8  inches,   for  binding  of 

edge.     Raffia  of  two  or  three  colors. 


94 


CONSTRUCTION  WORK 


Diiiiciisioiis — Base,  4x4  inches.  Depth,  2  inches.  Sides,  2x4 
inches. 
Lay  a  set  of  nine  spHnts  flat  on  a  surface.  Take  one  of  the 
remaining  nine  and  weave  across  for  the  first  row.  Add  a  second 
spHnt,  weaving  in  and  out  through  ahernate  ones.  Continue  until 
all  the  nine  splits  are  woven  in  and  the  square  base  of  the  basket 
is  formed.  Have  splints  sufficiently  damp  to  be  flexible ;  otherwise 
they  may  break.  Bend  up  the  splints  at  right  angles  to  the  base 
for  sides,  thus  making  corners.     Now  with  the  raffia  weave  in  and 


BOTTOM  OF  SPLINT  AND  RAFFIA  BASKET 


out,  interlace  the  thread  at  the  corners,  and  draw  it  tight  enough  to 
hold  the  splints  in  place.     Introduce  color  to  suit  taste. 

When  the  sides  are  finished,  take  an  eighteen-inch  splint  and  lay 
it  around  on  the  inside  of  the  basket  close  to  the  last  row  of  raffia. 
Hold  it  in  place  and  turn  the  ends  or  the  basket  splints  over  it 
inward.     These  end  splints  must  be  trimmed  evenly  and  left  just 


BASKETRY 


95 


long  enough  to  bcncl  over  the  sphnt  running  round  on  the  inner 
side.  Tatce  two  more  eighteen-inch  spHnts ;  having  placed  one 
inside  the  edge  and  the  other  outside  the  edge  of  the  basket,  with 
a  needle  and  a  long  thread  of  rafifia  whip  over  and  over.     Bring 


BASKET  OF  SPLINTS  AND  RAFFIA 

the  needle  through  each  opening  between  the  splints  until  you 
have  gone  around  the  four  sides.  This  makes  a  suitable  border 
and  completes  the  basket. 

The  model  given  here  has  ten  rows  of  natural  color,  ten  rows  of 
green,  six  rows  of  brown,  ten  of  green  and  ten  of  natural  color, 
which  combination  makes  it  two  inches  deep. 


COMBINED  REED  AND  RAFFIA 

Problem — To  teach  how  reed  and  raffia  may  be  combined  in  con- 
struction. 

The  models  suggested  here  are  very  simple  and  can  be  made  by 
the  younger  children  of  the  lower  grades.  These  have  been  held  to 
purposely,  for  the  child  needs  first  to  learn  how  both  to  use  his 
fingers  and  to  handle  a  needle ;  and  afterward  he  must  have  much 
practice  before  he  can  take  up  the  more  difficult  stitch  in  the  In- 
dian basketry. 

In  beginning  the  combined  reed  and  raffia  work,  the  first  thing 
I  should  make  is  a  miniature  umbrella. 


CONSTRUCTION  WORK 


UMBRELLA 
(For  description  see  opposite  page.) 


BASKETRY  97 


16     Umbrella 

Material — One  9-inch   spoke   of   Xo.   4   reed    for   handle.     Xine 
4-inch  spokes  of  Xo.  1  reed  for  ribs.     Raffia  for  weaver. 

Have  the  spokes  thoroughly  soaked  and  keep  them  wet.  Also. 
have  the  raffia  damp.  Place  the  four-inch  spokes  around  the  nine- 
inch  spoke,  hold  them  firmly,  and  wrap  tightly  with  the  damp 
weaver  four  or  five  times ;  then  tie,  but  do  not  cut  the  weaver. 
Now  stand  this  bunch  of  spokes  on  end  on  a  board  or  desk  top, 
press  the  nine  spokes  out  so  as  to  form  a  circle  parallel  with  the 
surface  of  the  desk,  and  with  the  weaver  work  in  and  out  among 
the  spokes.  The  convex  top  of  the  umbrella  will  soon  form.  To 
lengthen  the  weaver,  tie  on  a  new  piece  of  raffia.  Continue  weav- 
ing until  within  an  inch  of  the  ends  of  the  ribs,  or  until  the  um- 
brella is  four  or  four  and  one-half  inches  across ;  then  fasten  by 
tying  the  weaver  to  one  of  the  ribs. 

To  form  a  ferrule,  slide  end  Xo.  1  of  the  handle  reed  down 
until  it  stands  three-quarters  of  an  inch  above  the  outside  of  the 
umbrella.  Drop  a  little  glue  into  the  cavity  to  hold  the  reed  in 
place.  Xow  take  end  Xo.  2  of  the  handle  reed  and  curve  it  to 
form  a  ring  or  to  appear  like  the  handle  of  a  real  umbrella.  Tie 
it  wath  raffia  to  keep  it  in  place  and  lay  the  umbrella  aside  to  dry. 
When  it  is  thoroughly  dry,  clip  the  points  of  the  ribs  to  equal 
lengths. 

This  little  toy  suggests  the  invention  of  primitive  life  or  of  an 
uncivilized  nation  of  which  the  pupil  has  some  previous  knowl- 
edge. It  is  most  attractive,  and  to  have  made  it  greatly  pleases 
the  child. 

17     Miniature  Chair  No.  I 

Material — X^o.  4  reed:   one  piece   15   inches  long;  one  piece  6 

inches  long;  four  pieces  10  inches  long.     Several  lengths  of 

raffia.  2* 

Take  three  ten-inch  lengths  of  reed  and  bend  them  so: 

Fasten  them  together  at  the  joints  and  wrap  with  the  raffia 

for  about  two  inches  to  form  the  front  legs.     X^ext  attach 

the    fifteen-inch    length    of    reed,    placing   the    ends    together    to 

form  the  back  legs   and   allowing  the   extra   amount   to  extend 

aDOve  in  a  bow  to  form  the  back. 

You  now  have  the  framework  of  back,  seat,  and  legs.     At  the 


98 


CONSTRUCTION  WORK 


back,  where  the  bow  extends  above  the  Hne  of  the  seat,  place  a 
five-inch  piece  of  very  wet  reed  to  the  front  of  the  bow  and  ^^ 
the  edge  of  the  seat ;  carry  it  around  and  lap  it  at  the  back  ana 
fasten  to  hold  the  back  legs  together  and  shape  the  seat. 


CHAIR  No.  I 
Made  of  reed  and  raffia. 


This  chair  has  a  woven  seat  of  raffia.  Use  a  very  long  needle 
and  carry  the  raffia  from  one  side  of  the  seat  to  the  other  in  close 
lines  until  the  space  is  covered  one  way.     Then  reverse  the  action. 


BASKETRY  99 


and  work  from  front  to  back,  weaving  in  and  out  among  the  cross 
threads  exactly  as  you  do  in  darning.  Be  careful  to  keep  the 
thread  even,  to  prevent  sagging.  When  the  seat  is  woven  whip 
the  edge  all  around  with  raffia  for  a  finish. 

Next  take  the  remaining  ten-inch  piece  of  reed,  bend  it  to  a 
two -inch  square  and  insert  it  between  the  legs  one  inch  below  the 
seat.  Tie  it  to  each  leg  and  wrap  the  intervening  space  with  the 
raffia  as  you  go  from  leg  to  leg.  This  forms  the  brace  which  holds 
the  legs  in  position. 

For  the  back  take  a  very  long  thread  of  raffia  in  your  needle, 
make  seven  cross  threads  and  weave  a  spider's  web,  having  the 
center  fill  about  one-fourth  the  space.  When  the  web  is  finished, 
buttonhole  around  the  reed  to  fasten  the  spirals  in  position  and  to 
give  a  finish  to  the  frame  of  the  back. 

Lastly  measure  and  trim  off  the  legs  to  equal  length.  The  back 
should  extend  two  and  one-half  inches  al)ove  the  seat,  and  the  legs 
should  be  two  and  one- fourth  inches  long. 

18     Miniature  Chair  No.  II 

Material — No.  1  reed:  six  spokes,  10  inches  long;  one  spoke,  6 
inches  long.  No.  4  reed:  two  15-inch  lengths;  six  10-inch 
lengths  and  one  12-inch  length.     Several  lengths  of  raffia. 

Weave  two  mats  two  inches  in  diameter  in  the  following  man- 
ner; Lay  three  ten-inch  spokes  across  three  ten-inch  spokes  at 
right  angles.  Place  beside  the  under  set  the  six-inch  spoke. 
Take  a  piece  of  raffia,  not  too  thick,  for  a  weaver,  and  beginning 
as  you  would  begin  a  basket  or  mat  with  a  reed  weaver,  weave 
until  the  mat  is  two  inches  in  diameter.  Do  not  cut  either  spokes 
or  weaver.  Have  the  reed  well  soaked,  that  it  may  be  very  pli- 
able and  in  no  danger  of  breaking. 

To  construct  the  back,  take  a  mat  and  a  fifteon-inch  length  of 
reed,  bend  the  latter  to  a  bow  and  place  it  back  of  the  spokes  at 
the  edge  of  the  last  row  of  weaving.  Bend  each  spoke  consecu- 
tively over  this  reed  and  bring  the  end  of  the  spoke  through  be- 
tween the  last  row  of  weaving  and  the  reed.  This  forms  a  loop 
over  the  No.  4  reed.  Thread  the  weaver  into  a  needle,  and 
take  it  in  and  out  where  the  No.  1  reed,  or  spoke,  crosses  be- 
tween the  mat  edge  and  the  No.  4  reed  in  the  form  of  a  back 
stitch.    The  first  one  fastened,  continue  in  the  same  wav  until  ten 


100 


CONSTRUCTION  WORK 


spokes  are   bent   over  and  tied   down.     Next   take   the 

twelve-inch  length  of  No.  4  reed,  bend  it  to  this  shape: 

then  fasten  the  three  remaining  spokes  to  the  two-inch 

space  as  you  have  done  with  the  other  ten.     Take  the 

second  fifteen-inch  length  of  No.  4  reed,  bend  around  again  and 

fasten  by  running  a  piece  of  rafiia  in  and  out  and  over  through  each 


CHAIR  No.  II 
Made  of  reed  and  raffia. 


space  between  the  loops.     Lay  it  aside  until  the  seat  is  prepared. 

Scat.     The  mat  is  ready.     Bend  a  ten-inch  length  of   No.  4 

reed  into  a  2^4 -inch  square.     Set  this  around  the  mat,  bend  the 

spokes  over  it  and  fasten  as  you  did  those  of  the  back.     Again 


BASKETRY 


101 


take  three  ten-inch  lengths  of  Xo.  4  reed  and  bend  so:  li!' 
Place  these  around  three  sides  of  the  prepared  seat  and 
fasten  them  by  wrapping  them  over  and  over  with  raffia, 
and  the  front  and  two  sides  of  the  chair  are  formed. 
Adjust  the  back  to  the  fourth  side  of  the  seat ;  fasten  it  by  wrap- 
ping it  closely  with  raffia.  Next  bend  to  a  form  near  the  size  of  the 
seat  a  piece  of  No.  4  reed.  Place  this  around  the  legs,  to  form  a 
brace,  about  one  inch  below  the  seat  in  front  and  about  three- 
fourths  of  an  inch  below  in  the  back.  Let  the  joining  point  of 
the  reed  come  at  the  back.     \\'ith  a  piece  of  raffia  fasten  this  to 


BACK  OF  CHAIR  Xo.  II 


one  leg,  then  wrap  the  raffia  over  and  over  along  the  brace  until 
the  next  leg  is  reached,  secure  it  and  pass  on  to  the  third,  then  to 
the  fourth,  when  the  entire  brace  will  be  wrapped  with  raffia  and 
the  four  legs  held  in  place. 

Where  the  back  is  attached  to  the  seat,  you  will  have  four  Xo.  4 
reeds  coming  tosfether  to  form  the  back  lesrs.     This  would  make 


102  CONSTRUCTION  WORK 

them  too  thick  and  ckinisy  and  they  would  not  he  symmetrical 
with  the  front  ones.  To  prevent  this,  clip  two  of  the  reeds  be- 
tween the  seat  and  the  brace  on  the  legs.  Cut  out  the  ends  of  the 
one  of  the  back  first  worked  in,  and  the  ends  of  the  one  forming 
the  back  brace.  There  is  left  the  outer  fifteen-inch  spoke  you 
put  on  and  the  one  which  came  around  from  the  side  of  the  seat. 
These  two  form  the  back  leg  on  each  side.  Wrap  closely  with 
raffia  the  intervening  spaces  between  the  seat  and  the  brace  so  as 
to  leave  no  unsightly  ends. 

In  bending  the  reed  to  fashion  the  legs  it  is  impossible  to  have 
it  all  the  same  length;  adjust  this  by  letting  the  unevenness  come 
out  at  the  foot  of  the  leg  and  when  the  chair  is  finished  measure 
and  cut  off  the  legs  to  the  same  length. 

Rules  for  Canixg  Chairs 
First:     J\v'ticals. 

Setting  up :  Begin  at  the  center  hole  of  the  front,  pass  the 
cane  up  through  the  hole  from  the  underside  and  down  through 
the  corresponding  hole  at  the  back,  leaving  about  four  inches  to 
tie  otT;  then  up  through  the  next  hole  to  the  right,  pass  to  the 
corresponding  hole  to  the  front,  continue  to  the  right  and  then  to 
the  left,  until  all  the  holes  are  filled  except  the  corner  ones 
Second:    Horizontals. 

Begin  at  the  center  hole  at  the  left,  pass  the  cane  up  through 
the  hole  and  over  all  the  verticals  and  down  through  the  corre- 
sponding hole  on  the  right,  filling  all  the  holes  toward  the  front 
and  then  toward  the  back  until  all  the  holes  are  filled  except  the 
corner  ones. 
Third:     J^crticals. 

Begin  at  the  center  hole  at  the  back,  pass  the  cane  up  through 
the  hole  at  the  front,  then  fill  all  the  holes  to  the  right  and  the 
left,  except  the  corner  ones. 
Fourth:     Weaving  Horizontally. 

Begin  at  the  right-hand  side,  pass  the  cane  over  the  upper  ver- 
tical and  under  the  lower  vertical,  pulling  the  upper  one  to  the 
right  and  keeping  the  weaver  to  the  back  of  the  first  horizontal ; 
continue  this  until  you  have  two  horizontals  in  each  hole. 
Fifth:     Diagonals  Running  from  Left  to  Right. 

Pass   the  cane  up  through  the  front  left-hand  corner,   under 


BASKETRY  103 

the  verticals  and  over  the  horizontals,  working  toward  the  upper 
right-hand  corner;  first  the  right,  and  then  the  left-hand  side  of 
the  frame  is  filled  in  this  manner. 
Si.vtii:     Diagonals  Running  from  Right  to  Left. 

Pass  the  cane  up  through  the  front  right-hand  corner  and  work 
toward  the  back  left-hand  corner,  passing  the  cane  over  the  ver- 
tical and  under  the  horizontal  pairs ;  continue  in  this  way  until  the 
entire  frame  is  filled  with  these  diagonals. 

Tie  all  the  ends  securely  on  the  under  side  of  the  frame. 
Bind  Off. 

Lay  a  piece  of  cane  over  the  holes  on  the  upper  side  of  the 
frame.  Take  a  second  long  piece  of  cane  as  a  weaver,  pass  it 
from  the  under  side  of  the  frame  up  through  a  hole,  over  the 
cane,  and  down  through  the  same  hole  to  the  under  side  again. 
Carry  it  along  to  the  next  or  second  next  hole,  pass  up,  over  cane, 
and  down  in  the  same  way.  Continue  this  until  the  entire  frame 
is  bound  around. 


PART  V 
THE  SCHOOL  GARDEN 


M 


THE  SCHOOL  GARDEN 

Introductory  Remarks 

In  the  spring  of  1906,  at  the  request  of  President  R.  W.  Sil- 
vester of  the  Maryland  Agricultural  College,  I  wrote,  for  publica- 
tion as  a  College  Bulletin,  my  experience  of  one  year's  work  in  a 
city  school  garden.  The  introduction  of  school  gardens  as  a 
factor  in  the  school  curriculums  was  then  in  its  infancy.  Three 
years  have  shown  great  advancement  along  this  line,  though  the 
main  issue  is  the  same  to-day  as  it  was  then.  This  paper  is  a  re- 
vised edition  of  the  M.  A.  C.  Bulletin.  That  President  Silvester 
was  a  pioneer  in  the  thought  that  "agriculture  should  enter  into 
education"  is  shown  by  the  following  quotation  from  his  introduc- 
tion to  my  article  of  1906 : — 

"The  time  must  come  when  the  child  of  rural  environment 
must  find  in  the  only  school  which  ninety  per  cent  will  ever  at- 
tend, a  training  which  will  give  it  an  intelligent  adjustment  to  its 
environment.  With  this  adjustment,  the  future  work  of  the 
child  cannot  reasonably  expect  to  escape  the  state  of  drudgery. 
When  a  life's  work  degenerates  into  this  condition,  then  con- 
tentment with  it,  or  happiness  as  a  result  of  it,  becomes  an  idle 
dream.  Can  the  accuracy  of  this  statement  be  questioned?  It 
so,  it  would  be  a  great  privilege  for  the  writer  to  receive  from 
some  teacher  a  letter  setting  forth  the  particulars  in  which  he  is 
wrong. 

"Let  all  wdio  are  interested  in  the  child  from  the  country,  and 
every  one  should  be,  take  this  as  a  motto  in  this  great  work  be- 
fore us :  'The  country  is  entitled  from  its  state  and  from  its 
county,  to  that  consideration  which  will  give  him  every  oppor- 

107 


108 


CONSTRUCTION   WORK 


tunity  to  secure  an  education  as  well  suited  to  his  conditions,  as 
is  enjoyed  by  his  city  brothers  and  sisters.'  " 

A    CITY   SCHOOL    GARDEN 

If  a  country  boy  were  to  hear  his  little  city  brother  say,  "Our 
class  has  a  garden  and  I  have  a  share  in  the  working  of  it,"  the 
country  chap  would  "non  plus"  him  by  quickly  exclaiming, 
"What's  that!  I  work  in  my  father's  garden  every  year  and 
know  all  about  raising  and  gathering  vegetables." 

But  to  the  city  child,  who  sees  only  cobblestones  beneath  his 
feet,  whose  view  is  contracted  by  rows  of  dingy  houses,  or  who 


WEEDING  THE  BEDS 


plays  on  a  lot  used  both  as  a  dump-pile  and  as  a  baseball  ground, 
the  privilege  of  working  in  a  garden  plat  is  a  great  one  and  the 
products  of  its  soil  a  revelation. 

The  aim  here  is  to  give  an  account  of  one  season's  work  in 
such  a  garden — a  garden  treasured  by  children  whose  only  knowl- 
edge of  vegetable  foods  was  that  mother  got  them  in  the  market. 

Through  the  courtesy  of  the  City  Park  Superintendent  of  Bal- 
timore, sections  of  ground  in  some  of  the  parks  are  placed  at  the 
disposal  of  the  Board  of  Education  for  school  gardens,  and  the 


THE  SCHOOL  GARDEN 


109 


privilege  of  cultivating  these  gardens  is  granted  to  teachers  in  an 
adjacent  building. 

It  is  of  the  section  in  Riverside  Park  that  I  am  writing,  and 
the  accompanying  illustrations  are  pictures  of  this  garden,  taken 
at  various  times  through  the  season. 

These  sections  arc  not  in  prominent  places,  but  for  the  most 
part  in  undesirable  corners  that  the  park  gardener  is  willing  to 


GIRL  INTEREST 


relinquish  for  the  good  of  the  cause.  In  Riverside  Park  the 
plat  is  adjacent  to  the  summer  playground,  and  the  second  year 
that  I  had  the  garden,  at  the  end  of  June  when  school  closed,  a 
few  of  the  children  volunteered  to  attend  to  it  during  vacation. 

The  interest  of  these  childr-^n  attracted  the  attenion  of  the 
director  of  the  playground  and  she  offered  to  oversee  the  work 
v/hile  the  playground  was  in  session  if  some  of  her  children  might 
have  the  privilege  of  working  in  the  garden. 

This  proved  to  be  an  amicable  arrangement,  as  by  it  the  garden 
was  kept  in  good  condition  all  summer.  When  school  opened  in 
September  I  took  charge  again,  that  the  children  might  have  the 
full  experience.  In  my  memory  lingers  a  most  vivid  picture  of  a 
cold  November  afternoon  when  we  gathered  what  remained  of 
the  crops,  cleaned  off  the  beds,  heaped  the  refuse  in  the  center 


110 


CONSTRUCTION  WORK 


of  the  garden,  and  had  a  most  glorious  bonfire,  though  it  was  not 
election  day.  We  watched  the  last  spark  die  out,  closed  the  gate, 
and  with  regretful  steps  wended  our  way  back  to  the  schoolroom, 
to  await  the  coming  of  another  spring. 

Our  plat  measures  fifty  by  twenty-five  feet  and  is  enclosed  by 
a  fence.     The  park  gardener  became  interested  in  the  children's 


MAY  I  COME  IN? 

efifort  and  added  to  the  success  of  the  work  by  giving  the  neces- 
sary top  soil,  lending  wheelbarrows,  and  offering  occasional 
suggestions. 

As  a  preparation  for  the  outside  work  we  made  a  thorough 
study  of  soil  composition  and  seed  germination  early  in  the  win- 
ter. The  children  brought  pieces  of  rock,  pebbles,  shells,  wood, 
and  leaves  as  concrete  illustrations  and  with  these  before  us  the 
following  lessons  were  developed  : — 

I    That  soil  is  made  from  the  wasting  away  of  all  kinds  of  rock. 

II    That  soil  is  made  by  decaying  wood. 

III  That  soil  is  made  by  decaying  leaves. 

IV  That  the  above  composites  combine  to  form  productive  soil. 
The  object  of  the  first  lesson  was  to  teach  that  soil  is  made 

from  rock. 
The  pupils  examined  stones,  pebbles,  and  shells.     They  found 


THE  SCHOOL  GARDEN 


111 


some  rough,  some  smooth.  Through  the  teacher's  questions — 
''Why  are  some  rough?"  "\\'hy  are  some  smooth?"  "If  those 
having  a  smooth  surface  now  were  once  rough,  what  has  become 
of  the  particles  which  must  have  broken  away?" — the  class  was 
led  to  express  opinions  until  the  final  generalization  was  made : 
Soil  may  be  formed  from  the  breaking  up  of  rocks  and  shells. 

Each  topic  was  treated  in  a  similar  manner,  the  specific  quali- 
ties of  the  specimen  being  brought  out,  until  we  were  able  to 
make  the  summary  : — 

"Soil  is  made  from  decayed  rocks  and  shells;  soil  is  made  from 
decayed  leaves ;  the  rocks  make  a  coarse   soil  called   sand ;   the 


1 

i 

n 

i 

1 

WHOSE  BED  LOOKS  THE  BEST? 


wood  and  leaves  make  finer  soil  called  loam;  the  mixture  of  these 
soils  makes  productive  soil." 

This  summary  led  to  the  next  lesson,  "The  Productive  Qual- 
ities of  Soil."  The  question  was  asked,  "How  can  we  determine 
the  productive  quality  of  soil  ?" 

"We  can  plant  some  seeds  in  each  kind  of  soil,"  said  a  child. 
Several  pupils  volunteered  to  bring  pots  of  earth. 

Ready  for  the  experiment,  we  proceeded  to  analyze  as  follows 
the  soil  brought  by  the  children : — 


112 


CONSTRUCTION  WORK 


"Take  some  of  the  soil  in  your  hands,  powder  it  as  finely  as 
possible. — John,  what  do  you  find  in  yours?" 

"I  can  feel  grains  of  sand,"  said  John. 

"Do  you  think  there  is  more  sand  or  more  loam?" 

"I  think  there  is  more  loam,"  said  another  child. 

"Why  do  you  think  there  is  more  loam?" 

"Because,  when  I  rub  it  between  my  fingers  there  seems  to 
be  more  soft  material  than  grains,"  came  the  answer. 

"Can  any  one  suggest  a  means  of  proving  that  there  is  some 
of  each  kind  of  soil  in  what  we  have  here?" 

Various  suggestions  were  made,  but  none  directly  to  the  point. 


LAST  DAY  OF  SCHOOL 


"Mary,  fill  that  glass  jar  three  parts  full  of  water.  We  will 
now  drop  into  the  water  some  of  this  soil  and  mix  it  well.  What 
do  you  think  will  happen  when  we  stop  stirring?" 

"The  sand  will  settle  at  the  bottom  of  the  jar,"  was  the  ready 
reply  from  a  bright  child. 

"The  coarse  loam  will  settle  next,"  was  a  second  answer;  and 
then  came  the  statement  that  the  finest  loam  w^ould  remain  on  top. 

We  waited  a  few  days  and  were  rewarded  by  seeing  the  soil 
in  distinct  layers  in  the  jar. 


THE  SCHOOL  GARDEN 


113 


'''Xow  we  will  try  to  discover  which  kind  will  produce  the  best 
plant.     How  shall  we  determine  this?" 

"Plant  some  seeds,"  was  the  immediate  suggestion. 

One  pot  was  filled  with  the  original  soil,  and  one  each  with  the 
kinds  of  soil  that  we  had  gotten  from  our  experiment.     A  seed 


STUDYIXG  NATURE 


oeaa  was  placed  in  each  pot,  and  all  pots  ;,ubjected  to  the  same 
conditions  and  watched  by  anxious  eyes. 

"I  see  a  bean  pushing  up,"  came  the  statement  one  morning 
and  every  child  wished  for  a  peep  at  the  tiny  plant. 

"In  which  soil  did  the  plant  appear?" 

Another  look  was  taken  and  answer  given  that  the  plant  came 
from  the  mixed  soil. 

The  second  plant  to  appear  came  from  the  bed  of  coarse  loam; 


114  CONSTRUCTION  WORK 


the  one  in  the  pot  of  fine  loam  came  third;  and  last  the  one  in 
the  sand  struggled  to  a  small  shoot,  then  died  of  starvation. 

After  this  the  life  of  one  plant  was  studied.  Thus  slowly  and 
cautiously  the  study  of  seed  germination  was  made,  the  teacher 
getting  all  from  the  child  possible,  and  aiming  to  have  him  cull 
his  information  from  the  plant  before  his  eyes. 

Now  that  we  were  familiar  with  the  facts  concerning  soil  com- 
position and  seed  germination,  we  felt  prepared  to  take  up  the 
outside  work. 

Between  the  first  and  the  fifteenth  of  April  our  first  visit  to 
the  garden  was  made.  The  ground  was  so  saturated  with  water 
that  it  was  impossible  to  think  of  working  it  in  that  condition. 
After  taking  a  view  of  the  surroundings  we  discovered  that  the 
plat  was  on  low  ground  and  that  the  water  from  the  rising  slopes 
at  the  back  ran  down  and  settled  upon  it. 

The  question  which  naturally  arose  was,  "How  may  this  water 
be  gotten  rid  of  ?"  A  short  talk  on  drainage  solved  this  problem. 
The*  children  decided  that  ditches,  ten  feet  apart,  should  be  dug 
crosswise  in  the  garden.  They  were  dug,  and,  as  the  weather 
was  favorable,  in  a  week's  time  the  soil  was  in  condition  to  be 
worked. 

Meanwdiile  interest  did  not  flag,  though  it  was  impossible  to 
accomplish  any  outside  work.  Writing  letters  to  an  imaginary 
hardware  dealer,  stating  what  tools  we  needed  and  inquiring  the 
price,  became  an  all-absorbing  exercise.  Next,  we  turned  deal- 
ers ourselves  and  rendered  itemized  bills  and  receipts  to  purchas- 
ers of  garden  materials.  In  this  way  two  forms  of  letter- 
writing  were  taught  and  the  children  derived  both  pleasure  and 
profit  from  the  work. 

In  the  construction  period  were  made  the  labels  they  would 
need  when  the  planting-time  came.  These  were  cut  from  small 
pieces  of  wood  with  penknives  and  marked  ready  for  use. 

A  plan  by  which  to  landscape  this  same  plat  had  been  drawn 
the  year  before  by  the  supervisor  of  our  city  school  gardens. 
This  plan  suggested  a  talk  on  landscape  gardening  and  intense 
interest  was  at  once  aroused.  The  talk  developed  such  ques- 
tions as  these : — 

"Is  the  plan  before  us  a  good  one?" 

"Can  we  improve  on  it?" 

"Is  there  any  waste  space  which  we  should  utilize?" 


THE  SCHOOL  GARDEN 


115 


"Is  the  plan  artistic  in  its  arrangement  ?" 
"Suppose  we  work  out  some  plans  to  see  what  is  possible." 
A  lesson  such  as  this  followed : — 

A  rectangle   was   drawn  on  the  board   to   represent  the  plat. 
Beside  it  was  a  statement  of  the  number  of  beds  to  be  laid  ofif 


A  FLOWER  FROM  THE  COUNTRY 


and  the  width  of  the  paths  between.  In  the  arrangement  of  these 
beds  and  paths  there  must  be  artistic  eiTcct. 

Each  child  then  drew  a  rectangle  on  paper  and  made  an  orig- 
inal plan  for  landscaping.  Those  showing  most  thought  were 
placed  before  the  class  and  their  good  points  commended.  The 
children  decided  that  not  one  met  every  requirement.  The  su- 
pervisor's plan  was  again  shown,  discussed,  and  adopted. 

This  plan  called  for  twenty  rectangular  beds  3x11  feet  in  area, 


116  CONSTRUCTION  WORK 

four  sliortcr  rectangular  beds  with  a  triangular  section  marked 
off  from  the  end  of  each  toward  the  center  of  the  garden ;  and 
a  circular  bed,  four  feet  in  diameter,  in  the  middle  of  the  plat. 
It  also  allowed  for  one  three-foot  path  running  through  the 
center  the  entire  length  of  the  garden,  and  a  one- foot  path 
separating  the  beds.  There  was  to  be  a  IJ/^-foot  path  around 
the  middle  circle. 

In  a  further  study  of  this  plan  the  following  arithmetic  prob- 
lems were  developed : — 

"What  is  the  area  of  a  garden  plat  fifty  feet  long  and  twenty- 
five  feet  wide?" 

"What  would  be  the  cost  of  this  plat  at  one  dollar  and  twenty- 
five   cents   a  square   foot?" 

"How  many  feet  of  fence  will  be  required  to  enclose  this 
plat  ?" 

"If  the  posts  are  set  five  feet  apart,  how  many  posts  will  be 
required?" 

"There  are  two  rows  of  cross  beams,  and  each  beam  is  ten 
feet   long;   how   many  will   be  needed   for   the   fence?" 

"How  much  will  it  cost  to  fence  this  garden  at  twelve  cents 
a  foot?" 

"What  is  the  area  of  a  garden  bed  three  feet  by  eleven  feet? 
the  perimeter?" 

"What  is  the  circumference  of  a  circular  flower  bed  four  feet 
in    diameter?" 

By  this  time  the  ground  was  in  condition  to  be  worked.  Which 
should  we  do  first,  spade  it  up,  or  lay  it  off?  W^e  decided  that 
we  would  first  dig  up  the  entire  plat  and  level  it.  Now,  in 
spacing  off,  should  we  begin  at  the  center  or  from  opposite 
ends?  The  advantages  of  each  method  were  strongly  advo- 
cated, and  finally,  the  children  themselves  concluded  that  it 
would  be  easier  to  measure  for  the  center  and  space  off  from 
that  point. 

Stakes  and  cord  had  been  brought.  Children  stood  at  the  sides 
and  ends  of  the  garden.  The  middle  points  of  the  sides  were 
determined  and  connected  with  a  cord,  and  likewise  the  two  ends. 
The  intersection  of  the  cords  was  the  center  of  the  plat  and  here 
a  stake  was  driven.  Attaching  a  cord  to  this  stake  two  feet 
along  the  cord  was  measured  and  a  small  stick  tied  there.  Using 
the  cord  as  a  radius,  a  circle  was  made  and  the  middle  bed  staked 


THE  SCHOOL  GARDEN 


117 


off.  Next  tlic  three-foot  path  to  opposite  ends  was  marked 
oft",  then  the  center  one-foot  path  to  opposite  sides.  This  much 
accompHshed,  spacing  the  rest  of  the  plat  was  easy.  Two  small 
boys,  with  lines   and   stakes,   marked  off  the  remaining  portion 


A  SUGGICSTIOX  l.-()k   kI-:CKSS  H<.)UR 


and  when  the  ends  were  reached  the  measurements  were  found 
to  be  accurate.  The  paths  between  the  beds  were  next  made  and 
the  ground  prepared   for  planting. 

After  spading,  leveling,  and  thoroughly  pulverizing  the  native 
soil,  we  added  a  top  layer  of  foreign  soil  as  a  fertilizer.  The 
latter  came  from  a  compost  heap  of  street  sweepings  which 
had  been  standing  two  years  and  was  supposed  to  be  nutri- 
tious.     As    it   turned    out,   however,   this     soil    contained     little 


118  CONSTRUCTION  WORK 


Lettuce 


nutriment    and    was    product i\c    of    more    fine    weeds    than    fine 
vegetables,  and  it  required  much  labor  to  fight  these  enemies. 

Now  came  the  seed-planting,  which  was  intensely  interest- 
ing to  the  children.  Rows  twelve  inches  apart  were  marked  ofif 
across  the  beds  and  the  seeds  planted  according  to  the  relative 
height  of  the  plants  which  they  would  produce,  those  that  would 
grow  tallest  being  placed  next  to  the  fence,  and  the  rest  graduat- 
ing to  the  center  ;  thus  : — 

First  came  corn,  three  grains  to  a  hill,  the 
rence  hiUs   twelve   inches   apart.     Then   pole   beans, 

P  three  beans  to  a  hill  and  these  hills  separated 

twelve  inches.     Next  we  planted  two  peas  in 
Pole  Beans  ^  ^^''^  ^"^'  made  the  hills  six  inches  apart.    The 

string  beans  w^ere  planted  just  as  the  peas  had 
Peas  been.     Then  came  a  row  of  lettuce,  next  rad- 

ishes, a  second  row  of  lettuce,  and  last  parsley. 
String  Beans  The  end  of  the  bed  was  left  for  flowers.  On 
Arbor  Day,  in  the  classroom,  we  had  sown  to- 
mato and  lettuce  seeds  in  boxes,  that  we  might 
Radishes  have  the  plants  ready  for  transplanting  when 

our  outside  soil  was  in  condition.  The  let- 
Lettuce  tuce  plants  turned  out  satisfactorily,  but,  ffjr 
some  unaccountable  reason,  the  tomatoes  were 
Parsley  a  failure.  To  replace  the  latter,  we  took  a 
_-,,  corner  bed  in  the  garden,  divided  it  into  three 
r lowers  sections  and  planted  tomato,  onion,  and  cab- 
bage seeds.  In  five  w-eeks  the  tomato  and  cabbage  plants  were 
large  enough  to  transplant,  and,  as  the  radishes  and  lettuce  ma- 
tured and  were  used,  tomato  and  cabbage  plants  were  put  in  the 
vacant  places. 

Two  pumpkin  seeds  were  planted  in  each  bed,  but  if  they 
both  came  up,  after  the  plants  had  reached  a  good  size,  the 
weaker  one  of  the  two  was  weeded  out  (as  the  bed  was  too  small 
to  support  both)  and  the  stronger  one  left  to  bear  fruit. 

Why  had  we  planted  onion  seed?  One  of  the  boys  had  brought 
an  onion  and  asked  if  he  might  plant  it  in  his  bed,  and  if  it  w^ould 
produce  other  onions.  I  explained  to  him  and  then  allowed  him 
to  plant  the  seeds  in  the  supply  bed  at  the  same  time  that  he 
planted  the  onion  in  his  own  bed.  The  onion  planted  produced 
seed,  while  the  seeds  sown  yielded  the  small  sets   for  the  next 


THE    SCHOOL  GARDEN 


119 


year's  planting.  Thus  by  the  act  of  one  child  the  fact  was  clearly 
demonstrated  to  the  class  that  fruit  produces  seed,  and  seed  pro- 
duces fruit. 

The  supervisor  had  given  us  a  wren-box,  made  by  a  child  in  a 
more  advanced  class  as  manual  work.  The  children  were  delight- 
ed witli  the  gift;  they  built  a  framework  around  a  stout  pole  in 


A  GARDEN  IN  THE  YARD  OF  A  CITY  SCHOOL 


the  center  bed  and  set  the  wren-box  on  the  pole.  They  then  sug- 
gested that  a  vine  should  cover  this  framework.  Consequently, 
Japanese  morning  glories  were  chosen  as  the  vine  and  the  re- 
maining space  in  the  bed  was  filled  with  marigolds,  nasturtiums 
and  coleus. 

The   seeds  being  planted,   the   work   in   the  garden   was   at   a 
standstill  until  the  plants  appeared,  then  systematic  visits  began. 


120 


CONSTRUCTION  WORK 


The  class  was  divided  into  three  groups  and  two  children  were 
assigned  to  a  plat.  We  worked  in  the  garden  on  Mondays, 
Wednesdays,  and  Fridays  for  half  an  hour  each  day.  Thus,  each 
group  had  its  day  once  a  week  regularly.  Finding  that  it  was 
impossible  to  direct  satisfactorily  more  than  twelve  children  at  a 
time,  I  devised  the  above  plan,  which  worked  admirably.  To  go 
to  and  come   from  the  garden  took  a  half-hour,  and  with  half 


GARDEN  BEDS  AROUND  THREE  SIDES  OF  THE  PLAYGROUND 


an  hour's  work  there  the  child  was  away  from  the  classroom 
one  hour  a  week.  This  allowed  ample  time  to  keep  the  beds 
in  order,  for  two  children  were  apportioned  to  a  bed,  and  these 
two  went  on  separate  days,  so  that  each  plat  was  worked 
twice  a  week. 

The  first  crop  of  peas  and  of  beans  were  gathered  as  vege- 


THE  SCHOOL  GARDEN 


121 


tables.  When  the  plants  ceased  to  bear  a  second  planting  was 
made  and  the  yield  from  this  was  left  to  mature  as  seedlings. 
When  ripe,  the  seeds  were  gathered  and  carefully  put  away  in 
the  sectional  seed-boxes  which  the  children  had  constructed  for 
the  purpose. 

The  children  took  care  of  the  garden  during  vacation,  gathered 


ANOTHER  Si:ori<  i\-  ()]■■ 


i:  ^.\Mi:  i;.ARDEN 


the  vegetables  as  they  ripened,  and  with  pardonable  pride  carried 
them  home  to  their  parents.  The  parents,  in  turn,  were  gratified 
and  as  much  interested  as  the  children.  Several  of  the  boys  had 
individual  appliances  made  by  their  fathers  for  use  in  the  gar- 
den. Often  on  Monday  mornings  would  come  the  account  of  the 
Sunday  walk  with  mother  and  father,  the  visit  to  the  garden  and 
how  much  the  parents  admired  it. 


122  CONSTRUCTION  WORK 

One  instance  occurred  which  proved  the  vakie  of  this  garden 
work  and  showed  how  devoid  of  a  knowledge  of  vegetable 
growth  many  city  children  are.  I  noticed  a  boy  digging  around 
the  root  of  his  tomato  vine  as  though  he  were  searching  for  some- 
thing.    I  asked  what  he  was  doing. 

"I  want  to  see  if  there  are  any  small  tomatoes  there,"  he  re- 
plied. As  the  fruit  of  the  radish  had  come  from  under  the 
ground  he  expected  to  find  the  tomato  there,  too. 

The  value  of  educating  the  child  through  his  self-activity  was 
proved  in  several  instances,  one  of  which  1  will  mention.  A  large 
boy  of  the  fourth  grade,  though  a  poor  student,  was  placed  on  the 
list  of  garden  children  and  proved  to  be  the  most  industrious  and 
active  child  of  the  group.  Why?  His  father  was  a  baker;  the 
boy  worked  in  the  bakery  until  eleven  every  night ;  slept  until 
four,  then  arose  and  delivered  goods  until  eight,  and  was  in  the 
classroom  at  nine.  Is  there  any  wonder  that  this  child  lacked 
energy  as  a  student?  When  he  was  removed  from  the  confine- 
ment of  the  classroom  the  pure  outside  air  acted  as  a  tonic,  his 
interest  was  awakened  and  his  work  well  done. 

This  same  child,  whenever  relieved  of  home  duties  out  of 
school  hours,  spent  the  time  in  the  garden  instead  of  devoting  it 
to  play.  He  hauled  a  quantity  of  shells  with  which  to  pave  the 
paths,  and  brought  all  the  sod  we  needed  to  form  a  firm  edge 
around  the  center  bed.  Can  there  be  any  doubt  that  this  boy  was 
benefited  ? 

There  is  a  social  side  to  this  industrial  outside  work  which  is 
superior  to  that  of  the  classroom. 

First :  The  teacher  has  but  a  small  number  of  children  under 
her  care  at  one  time;  consequently,  she  is  enabled  to  learn  more 
of  each  individual  nature. 

Secondly :  The  child  is  under  no  apparent  restraint,  so  ex- 
presses himself  freely  and  shows  his  natural  self. 

Thirdly :  The  boys  and  girls  mingle  with  one  another  with  the 
same  freedom  that  they  have  on  their  own  playground. 

In  the  two  months  spent  in  the  garden  not  a  single  child  took 
undue  advantage  of  the  privileges  allowed,  and  the  opportunity 
afforded  the  teacher  for  the  study  of  child-nature  was  of  great 
value. 

Some  one  might  ask,  "While  garden  work  is  being  done,  does 
not  the  work  of  the  classroom  suffer?"     No,  it  does  not.     When 


THE  SCHOOL  GARDEN 


123 


classes  are  taught  in  sections,  this  outside  work  may  be  fitted  in 
as  a  sectional  part  and  the  routine  be  kept  intact. 

In  summarizing,  the  lessons  developed  from  garden  work  were 
these:  Science  (soil  physics  and  seed  germination)  ;  geography; 
arithmetic;   spelling;   English;   drawing,   and   construction.     The 


GATHERIXG  THE  VEGETABLES 


greatest  benefit  to  the  teacher  was  the  chance  to  study  the  child 
under  natural  conditions.  The  greatest  benefit  to  the  child  was 
his  awakening  to  a  knowledge  of  things  by  personal  contact.  I 
sincerely  believe  that  the  after-life  of  each  one  of  these  children 
will  be  the  richer  for  this  experience  of  outdoor  study. 

In  some  of  the  school  yards  the  pavement  near  the  fence  has 
been  removed,  and  the  space  divided  into  small  beds  for  garden- 
ing.    ]\Iany  of  these  gardens  make  a  fine  showing  and  you  will 


124  CONSTRUCTION  WORK 

find  here  three  pictures  of  such  a  yard,  ilkistrating  what  may  be 
done  within  the  Hniits  of  the  playground  of  a  city  school.  When 
you  consider  that  between  six  and  eight  hundred  children  play 
in  this  yard  at  the  same  recess  time  every  day,  you  can  appreciate 
what  it  means  to  yield  a  portion  of  the  limited  space  to  vege- 
tables and  flowers;  and,  since  these  plants  are  never  molested, 
how  much  the  children  are  pleased  to  have  their  playground  so 
decorated. 

Nearly  all  the  garden  products  may  be  correlated  with  the 
classroom  work.  The  kindergarten  children  use  peas  in  con- 
struction. The  peas  raised  in  the  garden  may  be  applied  here. 
The  first-grade  children  use  lentils  in  construction.  Why  not  as 
well  use  pumpkin  seed  and  grains  of  corn — the  product  of  the 
garden?  Every  class  enjoys  having  a  Jack-o'-lantern  at  Hal- 
lowe'en, so  here  again  the  pumpkin  from  the  garden  comes  into 
play.  In  the  construction  of  miniature  wagons  and  wheelbarrows 
of  paper,  peas  may  be  soaked  and  used  as  axles  for  the  wheels. 
Both  peas  and  beans  may  be  soaked  and  given  to  the  small  chil- 
dren to  string  for  chains,  thus  teaching  number  and  spacing. 
Every  layer  of  husk  (beneath  the  outside  one)  from  the  ear  of 
corn  may  be  dried  and  made  into  a  basket  by  the  more  advanced 
pupil. 

If  a  city  teacher,  with  opportunities  so  limited  and  numberless 
disadvantages,  can  accomplish  even  a  little  in  this  line  for  the 
children  in  her  charge,  how  much  more  should  the  teacher  of  the 
rural  school  accomplish  when  she  has  space  at  her  command,  chil- 
dren in  the  environment  of  country  life,  and  seemingly  all  things 
that  tend  to  work  together  to  produce  good  results ! 

So  much  interest  is  shown  in  this  phase  of  industrial  work  all 
over  the  country  that  I  doubt  that  there  is  anywhere  a  teacher 
who  does  not  wish  to  add  the  study  of  it  to  the  curriculum,  unless 
she  is  already  working  along  these  lines.  Feeling  sure  of  the 
sympathy  aroused  in  every  teacher's  heart,  I  have  included  among 
the  illustrations  of  this  article  three  scenes  from  rural  school  life. 
(See  pages  113,  115,  and  117.) 

In  connection  with  these  pictures  let  me  say  a  few  more  words 
to  the  rural  teacher.  You  may  think  yourself  much  poorer  than 
your  city  co-worker,  but  the  fact  is  that  you  are  the  one  of  afflu- 
ence, she  is  the  struggler.  You  have  all  about  you  the  materials 
that  a  city  teacher  can  secure  only  at  second  hand.    All  the  riches 


THE  SCHOOL  GARDEN  125 

of  nature  are  at  your  command — the  birds  that  nest  at  your  door, 
the  fishes  that  swim  in  the  brook,  the  grasses  that  grow  by  the 
roadside,  the  trees  of  the  forest,  and  the  flowers  that  spring  up 
everywhere ;  the  ground  space  for  your  garden ;  the  intelHgent 
child  of  country  environment  who  does  not  need  to  work  the  gar- 
den to  learn  how  vegetables  grow,  but  who  does  need  to  work  it 
for  the  education,  the  aim  and  object  of  school  gardens.  If  you 
are  not  interested  in  such  work,  try  doing  it  once  because  you 
should.  Next  year  there  will  be  no  should ;  love  will  lead  you  on. 
I  have  the  same  feeling  in  my  heart  about  the  school  gar- 
den that  the  poet  who  wrote  "The  Little  Fir  Trees"  must  have 
had  about  them.     Each  stanza  winds  up  with 

And  so, 
Little  evergreens,   grow! 

Grow,    grow  ! 
Grow,   little  evergreens,  grow! 
I  would  say : 

And  so, 
Grow,  school  gardens,   grow ! 

Grow,  grow ! 
Grow,   school  gardens,  grow ! 

The  three  pictures,  "Studying  Nature."  "A  Flower  from  the 
Country"  and  "A  Suggestion  for  Recess  Hour,"  came  to  me 
from  a  country  school.  They  speak  so  vividly  for  themselves 
that  I  feel  that  each  one  carries  with  it  its  own  message  and 
appeals  so  strongly  in  behalf  of  the  deepest  love  of  nature  in  even 
the  youngest  child  as  to  point  to  the  possibilities  of  what  might 
be  when  this  love  is  fed  and  made  to  grow  with  the  physical  na- 
ture of  the-  child. 


This  book  is  DUE  on  the  last  date  stamped  below 


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